“We are all just characters in each other’s lives,” Corey Feldman sings in his new song “Characters,” which arrived June 22. And in his new music video for the track, which Billboard is premiering on the actor-singer’s birthday on Wednesday (July 16), the former child star takes viewers through various characters he’s portrayed throughout his decades-long career.

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“This new music video … serves as a creative time capsule that highlights many of the most memorable characters I’ve played in my over 50-year career in both film and music,” Feldman, who directed the visual, tells Billboard.

The video begins with a young boy resembling Feldman walking to the center of a stage to sit down on a stool highlighted by a stage light. As he begins singing, the little boy morphs, and his appearance changes from some of the actor’s younger roles (the cherubic blond child from his first acting gig in a McDonald’s ad, to little Regi with his baseball cap in Bad News Bears) to his famous tween and teen parts (The Goonies, Stand By Me, The Lost Boys) and roles in his adult years (Queeny in Corbin Nash and channeling late friend Michael Jackson in his own music video for “The Joke”).

The star shares that when he was first conceptualizing the idea for the “Characters” visual, his first thought was, “I could never afford it!” And then it hit him that he could do it. “Rather than trying to film myself in different costumes and makeup, I immediately gravitated toward the concept of an all-AI video. I loved the artistic statement in that contrast between old and new,” he explains. “I also thought about starting the video with the imagery of myself as a kid, like in that McDonald’s commercial from way back.”

“That style of music is both from another era and somehow timeless, so I wanted the visuals to reflect that — nostalgic, yet fresh,” he says of the Beatles-inspired psychedelic tune. “We can’t literally recreate all of those characters the way we remember them, but we can pay homage to them through artistic, believable interpretation. In the end, AI was the only way to do that within our resources.”

Though Feldman has previously shared his concerns about the increasing use of AI — specifically, that some of the Hollywood magic has been lost via the use of AI and CGI — he does believe there are some benefits to it. “Let me be very clear: I am very much against the use of AI as a replacement for human creativity,” he emphasizes, noting that he doesn’t think AI should be used for script-writing and pre-made music. “We must preserve the human touch.”

That said, the actor-singer does think that AI is acceptable when it’s “used strictly as a tool” for artistic effect or to bring a moment — or in this case, a character — back to life. “But there should always be clear boundaries, transparency and some sort of ‘warning label’ so the audience understands what they’re seeing,” he shares.

Feldman also shared that his original idea for the “Characters” video — which would have featured the star surrounded by various characters he’s played as his bandmates — was inspired by Paul McCartney’s “Coming Up” music video, which was released in 1980. “I remember watching it live. It always struck me as a genius concept,” he recalls. “Given that ‘Characters’ is, in many ways, a Beatles tribute, it felt fitting.”

The star jokes that he’s loved the Fab Four since “infancy,” and shares that he’s met all of them but John Lennon, who died in 1980. “I wanted to honor them through this project. I played all the drums on ‘Characters’ myself, with Ringo [Starr’s] style heavily in mind. I wrote and sang the verses in a voice inspired by John, and the chorus and bridge are sung in a Paul-style falsetto and growl. The guitar solo was designed to sound like something George [Harrison] might have played,” he explains. “It’s all a grand experiment, and I hope they’d be flattered. I put a lot of care into it, and it’s been a joy to create.”

Though he had The Beatles in mind while writing and recording “Characters,” Feldman says there’s more on the way when it comes to his love for the iconic band. “This is actually just a warm-up to a larger project: a five-song EP that’s a tribute to The Beatles in all their eras,” he reveals to Billboard. “It’s been an exciting, surprising ride — and a big swing for someone many like to overlook. But as always, I won’t let fear stop me from chasing my dreams or sharing my positivity through art, especially in a world that really needs it right now.”

Watch Corey Feldman’s music video for “Characters” above.

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Usher is now a brand ambassador for Ralph Lauren Fragrances. The Grammy-winning artist who has brought many iconic hits over the years such as “Yeah!,” “U Got It Bad,” “My Boo” and “Confessions,” is now the face of Ralph’s Club New York Eau de Parfum. This new partnership surprisingly serves as Usher’s first fragrance campaign and Ralph Lauren Fragrances’ first partnership with a major award-winning music artist.

Similar to Ralph’s timeless appeal, the new campaign aims to capture the glamour of Manhattan’s golden age, celebrating the city’s modern energy, authenticity and enduring excellence. Usher, who’s known for his Southern upbringing, has always been inspired by the city that never sleeps, which played a major role in the singer’s career early on. The Atlanta native recorded his first album in NYC in 1997, while Ralph Lauren founded his brand in Manhattan 30 years earlier in 1967, making it appropriate for both men to celebrate the Big Apple.

“I have the greatest respect and admiration for what Mr. Lauren has accomplished and I could not be more happy and proud to join Ralph Lauren Fragrances,” Usher said in a statement. “This is a brand that represents the best of who I want to be as an entrepreneur, a creator, and a man. I’m inspired and energized — this partnership feels like coming home.”

The campaign sees the “Yeah!” singer as the face for Ralph’s Club New York Eau de Parfum. Starting at $110, the fragrance debuted Wednesday (July 16), and is available to shop online on the brand’s site, as well as in store at Macy’s. The fragrance channels the same confident spirit that Usher has long embodied both on and off the stage. With notes of lavender and bourbon and a grounding base of sandalwood, the fragrance is both classic and unexpected.

“We creating something that was a bit more sweet, with black currant being a very high note, and bergamot being something that you smelled at the top, and then lavender and sandalwood being something that was grounding the bottom,” Usher tells Billboard. “This is a very unique scent that would allow you to feel comfortable wherever you are.”

Usher Talks Channeling Frank Sinatra for New Ralph Lauren Campaign

Ralph’s Club New York Eau de Parfum


To bring the campaign to life, Usher set out to compose an original song to accompany the fragrance, an effort inspired by the sophistication and spirit of Frank Sinatra’s iconic “Theme From New York, New York,” which peaked at No. 32 on the Billboard Hot 100 in June 1980. Speaking with Billboard, Usher opens up his love for New York City, reimagining Sinatra’s iconic song, picking out fragrances and what drew him to Ralph Lauren.

From fashion shows to the recent Met Gala to this Ralph Club New York campaign, can you explain your relationship with the Ralph Lauren brand?

If you’re from the South, you know, being polo down is obviously an expression of culture. We were all borrowing this idea based off of the cultural relevance of polo sport. I can remember the first time I bought a puffy vest, or if you had a skull cap and the goggles up on the right side of your hat, these were all things that we saw in terms of marketing, but also understanding the imprint of Ralph Lauren at that time.

Fast forward, wearing double RL, going to a ton of tennis events and seeing some of that swag, getting prepared for a formal event, you always look to purple label or Ralph to make certain that you got it right. Whether it was for summer, resort wear, all of those things, he was always there to accommodate something that you wanted to be immersed in. Even going to the stores, nine times out of 10, you feel as though you were immersed in this world. You don’t even have to necessarily purchase anything. You can literally go to the store, just to have a coffee and actually feel as though you were in the the idea of his thought.

So to organically now make this moment happen and be a part of now the family and an ambassador of this fragrance, I’m very happy. This is a very bold chapter of my life, but also a very bold chapter in the history and the legacy that Ralph has made. And Ralph Club New York is that introduction.

Can you explain the significance that the city of New York has played throughout your career?

You either get lost in New York, or you find yourself in New York. It is the birthplace of so many cultural moments, rather contemporary, musical, style, architecture, all of these things you find in the melting pot that is New York City. It’s the kind of the place where all cultures are accepted and all ideas can fly. My career started in New York City, even though I’m not originally from New York. Even this campaign for me was my love letter to New York and all of what it has offered me and has meant to me as an observer in history and times.

New York is a city that welcomes the entire world with open arms. I remember as a kid finding out so much about life being in this melting pot and understanding the daily hustle, as well as, the nightlife and what it offers and what it creates in terms of a cultural imprint that many cities all around the world try to adopt.

How does it feel to be able to reimagine an iconic song like “New York, New York” by Frank Sinatra?

This is a very iconic anthem that Frank Sinatra did before I was even born in 1977, which immortalizes this kind of concept that, if you make it in New York, you can make it anywhere. It is the very idea that that embodies a very bold spirit that is about a city that never sleeps. But it also gave us a song that is about this ambitious goal to be innovative and reinvent yourself, and make it big, man.

So for me, to be able to have Frank Sinatra spirit in the middle of all of what I’m creating, and look at even some of the photographs when we were creating it, and then reimagine it in my own way. Pun intended “my way.” I had this opportunity to re-engineer this idea with the energy of something that is timeless and classic, honoring him, honoring Ralph.

What do you look for when picking out your scent? How does a fragrance stand out to you?

Well, many people approach fragrance and their selection differently. For me, it all starts with the fragrance. Most people would look at a fragrance as an accessory. How I feel starts with the way I smell. So, when I get out of the shower and I did all the things that I needed to do to get myself ready. I spray this. It now puts me in a certain mindset, and now I go and I create from that place.

I think that they wanted to create something by way of the design of the bottle, to create something that was masculine and sophisticated. In terms of the scent, Ralph wanted to create something that was timelessly elegant, that was bold, but had a modern spirit.

Usher Talks Channeling Frank Sinatra for New Ralph Lauren Campaign

Ralph’s Club New York Eau de Parfum


What would you like for fans to take away from this campaign?

I hope that fans are ready to take a journey. I think that that’s the one thing that you look forward to with Ralph Lauren, that you feel as though you were immersed in an idea and you’re brought to a different place. Well, that place is New York. That place is club New York.

Us being able to work in the short amount of time that we did, with a very incredible group of people to create memorable, creative, iconic photographs, as well as a video piece that is a commercial. For me, it is a next chapter. It’s a next chapter of my season, and it’s the next chapter in my story. I feel like this is a really, really grand moment for me in terms of where I am, iconically and fashionably, it is something that feels very special in terms of the collaboration between myself and Ralph.

You don’t know what you’ve got ’til it’s gone.

Joni Mitchell said it in the 1970s. Rock band Cinderella used that same phrase in the ’80s.

Kameron Marlowe doesn’t quote those words exactly, but he’s exploring the same sentiment in 2025 with “Seventeen,” a new single that picks up sonically on the classic-rock era while celebrating the paradox of teen spirit. Seventeen-year-olds can’t wait to grow up; grown-ups often consider 17 with an appreciation they never expected.

“I was always looking ahead, always looking toward the next thing,” Marlowe remembers. “Not that I don’t do that now, but you don’t realize [what you have] when you’re in that space, when you’re that young and have that much freedom.”

Appropriately, “Seventeen” came together creatively in a way that fits the experience of a 17-year-old still searching for a life path. “It’s definitely different when you don’t know where you’re going,” says co-writer Tucker Beathard, “but you like the ride.”

Marlowe, Beathard and songwriter Joybeth Taylor (“weren’t for the wind”) spent a couple of days working in the office of Austin Goodloe (“Something’s Gonna Kill Me”) at Combustion Music earlier this year, focused specifically on songs for Marlowe. Coming off the album Sad Songs for the Soul, Marlowe was keen to make something with a lot of sonic power. So Goodloe plugged in a Gibson 335, an instrument associated with Chuck Berry.

“We just grabbed an electric guitar and put it on stun and kind of had a Back to the Future moment, where [Michael J. Fox] gets blown away by the speakers,” Goodloe says. “That’s the feeling that I [was] trying to capture, which might be why I grabbed the 335.”

Goodloe came up with a winding riff fairly quickly, and they started down four different roads, attempting to build a song around that lick. None of them worked. “It was probably one of the most frustrating songs that I’ve ever written,” Marlowe says.

While chasing one of those failed ideas, they delved into stories about their high-school misadventures. Marlowe ultimately decided they should fit the riff to a song called “Seventeen.” Since they had already set the tone — musically and thematically — they launched into a first verse about driving fast and testing speed limits, singing “Born in the U.S.A.” Notably, that Bruce Springsteen song would not have been a current-culture marker for Marlowe — or any of his co-writers — at age 17. It was released 13 years before he was born.

“A lot of the kids my age, they obviously know Springsteen and seem to know that song, too,” Taylor says. “It’s just one of those timeless songs that has lasted for forever. I feel like my brother knows the song, too, and he’s four years younger than me.”

After celebrating the freedom that the car represents to a 17-year-old, they spent verse two on examples of the trouble they would have found: experimenting with chewing tobacco and smoking at a bonfire. “I don’t think we even intentionally meant for it to be that progression,” Taylor says. “That’s just from talking about what we did at that age.”

In the middle of those tales, they crafted an ultra-short chorus: 10 words in four lines. It mimics the compact, anthemic choruses that were prevalent in classic rock — think Peter Frampton’s “Do You Feel Like We Do,” Van Halen’s “Jump” or The Steve Miller Band’s “Rock’n Me.” “We made it about as easy as it possibly could be for anybody to learn the lyrics,” Marlowe notes.

Its length was not the only aspect of the chorus that defied norms. “The melody on the chorus is lower than the verse melody,” Tucker offers. “Like, how does that work? I’m telling you, if you can pull that off to where you have a chorus that actually does not jump high, that is more chill than the verses, sometimes it actually comes across as really cool.”

Before it was over, they created a bridge that consolidated teen exploits into another four-line passage with a big-picture observation: “For every bad decision there’s a good memory.” “That’s kind of the takeaway,” Tucker says.

Goodloe started building a demo during the writing session, giving it a John Mellencamp guitar sound and throwing on gang vocals to enhance the party spirit. They had created a problem, though: The “Born in the U.S.A.” line didn’t just reference the Springsteen title — it actually used the melodic part of the hook, too. They would need the Boss to sign off on it. Fortunately, he granted permission, along with a message that he liked “Seventeen.”

“I can’t even believe that he heard a song I wrote,” Goodloe says. “Then, just selfishly, for all of us to have our name next to his on a writing credit was extra special.”

Dann Huff (Riley Green, Thomas Rhett) produced “Seventeen” at Nashville’s Blackbird Studio just weeks after it was written, enhancing the classic-rock signposts Goodloe had packed into the demo. “It’s ‘Glory Days,’ but written with the notion that the freedom you were seeking was what you had all along,” Huff says. “You just didn’t understand it.”

In particular, Huff played up the Mellencamp component, using The Lonesome Jubilee as a guide. He bolstered the signature guitar riff with a Charlie Judge accordion part, a la “Cherry Bomb.” Marlowe wasn’t crazy about it, so Huff blended in an overdub of the same line from Jacob Naggy, the fiddler from Marlowe’s road band.

“Kam is much more vocal about what he wants and more confident in it, and that makes the collaboration so much stronger,” Huff says. “We laugh about the thing about the accordion, but I think years ago, he would not have said anything to me. Right now, I think he feels empowered, so I think we’re making some good music.”

Drummer Jerry Roe messed with the tempo on the bridge, seemingly playing on the beat with one hand while playing behind the beat with the other. Marlowe dragged just a hair on his phrasing, too, creating the illusion that the whole track was on the edge of a breakdown. “Jerry Roe is a human metronome,” Marlowe says. “The rest of us are just holding on for dear life.”

Rob McNelley nailed the first half of the guitar solo at Blackbird, but in the aftermath, Marlowe persuaded Huff to take a swing at the back half. He ended up playing a twin-guitar part that emulates the Eagles’ On the Border era. Marlowe’s lead vocal came entirely from the tracking date. “When he steps into a vocal booth,” Huff says, “literally — and this is not an exaggeration — you could take any pass on its own.”

The demo’s gang vocals made the final track, and Gail Mayes provided the final piece of the puzzle: gospel-inflected, three-part backing vocals. Columbia Nashville released “Seventeen” to country radio via PlayMPE on June 16, with July 14 pegged as the official add date. Arriving after Sad Songs for the Soul, it’s Marlowe’s first solo radio single in four years. 

“I wanted it to be completely different, and it kind of says that without saying it,” Marlowe notes. “It felt right to lead off with this one.”

He seems to know what he’s got. 

The act of making music is a worthy undertaking for the soul, but when it connects the musician to an audience, the experience deepens.

At least 15 country artists have their first album or EP set for release during the last half of 2025, and many are already receiving the kind of feedback that confirms they’re making a connection.

“I got these young kids, they’re like 14 years old and their favorite song is ‘Weak,’ and their mom is sending me videos of them trying to play the solo,” notes Valory newcomer Preston Cooper. “That’s the most heartwarming thing ever, because they’re loving it and they’re growing up with that music. That’s important to me.”

That’s a sign that the hand-me-down nature of music – where the sound of one generation is incorporated and reinterpreted by the next – is alive and well.

Cooper, Hudson Westbrook and Chase McDaniel have fashioned what they’ve learned from their predecessors in a way that has each of them currently charted on Country Airplay, giving them an informal leadership role in a class of artists that’s more than willing to test the boundaries of the format. That’s particularly true of the seven women, several of whom fold in a fair amount of western, folk and Americana influence.

Here’s a look at the 15 country artists with their first album or EP arriving between July 1 and Dec. 31:

  • Annie Bosko (Stone Country) – Bosko has already collaborated with Joe Nichols, Vince Gill and Dwight Yoakam. The California cowgirl has a decidedly country voice, whether she’s contemplating faith in “God Winks” or kicking up her heels in “Country Girls! (Who Runs The World).” Her first album comes this fall.
  • Karley Scott Collins (Sony Music Nashville) – She possesses a smoky resonance and a worldly confidence, and applies that sound to tracks awash in hard knocks, drama and frustration. Collins enlisted Nathan Chapman (Taylor Swift, Lady A) to co-produce her first album, Flight Risk, arriving Sept. 26.
  • Preston Cooper (Valory) – Eighteen months removed from a small-town Ohio postal route, Cooper stamps his music with a bluesy scratch and an undeniable power. His first single, “Weak,” ably introduces his raw approach, further certified in the full Toledo Talkin’, planned for an Aug. 29 release.
  • Carter Faith (MCA) – She certainly puts her Faith in country music. Whether she’s exploring cinematic productions, honky-tonk pieces or sweaty, truck-bed workouts, the North Carolina native packages classic sounds with modern frankness, mindful of Deana Carter and Lindi Ortega. Her first album, Cherry Valley, is due Oct. 3.
  • Micah Fletcher (Grey Area) – The indie artist, raised in Virginia, has his first EP, Highway to Heaven, on the books for a July 18 release. The six-song project pairs his everyman vocal tone with real-world songs about faith and family built on easy-going hooks and modern production.
  • Dylan Gossett (Big Loud Texas/Mercury) – He’s already pocketed a platinum single with the 2023 release “Coal” and made his first appearance on the Grand Ole Opry. Now Austin-born Gossett is set to mine his sturdy, uncluttered approach to country with a 17-track debut album, Westward, on the way July 18.
  • Spencer Hatcher (Stone Country) – Raised in Timberville, Va. – from the same I-81 corridor as country stalwarts Ricky Van Shelton and The Statler Brothers – Hatcher’s unencumbered phrasing fits the ‘90s-country revival that’s still turning heads among the genre’s base. His debut EP is slated to hit the market in November.
  • Zandi Holup (Big Loud) – The world isn’t easy, or simple, and Holup conveys that with detailed lyrics and spare, acoustic-guitar-based arrangements. Her grainy, sometimes-shuddered vocals carry an intimate quality perfectly suited to her penchant for sad story songs. Her first album, Wildflower, arrives Aug. 1.
  • Alexandra Kay (BBR Music Group/BMG Nashville) – Featured on Jelly Roll’s 2024 tour and the Twisters soundtrack, Kay owns a Main Street eatery, The Coffee Girl, in her hometown of Waterloo, Ill. Her music percolates behind a girly tone and a brassy ‘tude, with her first major-label album expected before year-end.
  • Chase McDaniel (Big Machine) – McDaniel applies a fuzzy tone to the quiet songs on his debut album, but kicks into clear, arena-level power when required. Both aspects are on display as he slips the occasional haunting piece in among songs of personal commitment on Lost Ones, expected Sept. 19.
  • Peech. (CCMG/Tamla) – The Utah-bred artist-writer brought his indie-folk sound to the Capitol Christian Music Group’s Tamla imprint, which issues his first major-label-affiliated EP in August. His conversational phrasing and relaxed productions could easily fit in the current country landscape, nestled stylistically between Jelly Roll and Zach Brown.
  • Ketch Secor (Equal Housing / Firebird) – Twenty-five years into his run with Old Crow Medicine Show, frontman Secor released his first solo album, Story the Crow Told Me, July 11. With appearances by Marty Stuart, Molly Tuttle and Jaren Johnston, it revels in rough-cut country and a traveler’s wisdom.
  • MaRynn Taylor (Black River) – Her unassuming delivery and crystalline timbre give Taylor the aura of the girl next door, enhanced by the everyday topics – boys, beauty and “Season 2 of Friends” – that work their way into her material. Expect her self-titled inaugural album in August.
  • Thelma & James (Big Loud) – Married couple MacKenzie Porter and Jake Etheridge vacillate from sweet sonic embraces to dark, dangerous soundscapes in the handful of brooding, acoustic-driven songs they’ve released to date. Appreciated by John Mayer and Luke Combs, they’re currently building their debut EP, expected this fall.
  • Hudson Westbrook (River House/Warner Music Nashville) – The red-dirt scene has increasingly yielded artists ideal for country’s mainstream, and Westbrook is the latest example, behind subtle melodies and trad-country instrumentation. His first radio single, “House Again,” is at No. 24 on Country Airplay; his first album, Texas Forever, bows July 25.

One of the directors of the upcoming two-part Billy Joel documentary, Billy Joel: And So It Goes, gave an update on the singer’s health two months after the 76-year-old “Piano Man” legend revealed that he’d been diagnosed with the brain disorder normal pressure hydrocephalus.

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Co-director Susan Lacy told Good Morning America on Wednesday (July 16) that Joel has been “doing physical therapy, he’s healing, he’s working on getting better.” In May, Joel canceled all his planned summer shows due to the condition, which can affect vision, hearing and balance.

At the time of the cancelations, Joel said that the decision came after the condition was “exacerbated by recent concert performances, leading to problems with hearing, vision and balance. Under his doctor’s instructions, Billy is undergoing specific physical therapy and has been advised to refrain from performing during this recovery period. Billy is thankful for the excellent care he is receiving and is fully committed to prioritizing his health.”

According to Cleveland Clinic, the condition occurs when cerebrospinal fluid builds up inside the skull, pressing on the brain, affecting the ability to think and concentrate, as well as impacting memory and movement; treatment can involve implanting a shunt to drain the excess fluid.

Rock and Roll Hall of Famer had first delayed a number of shows planned throughout the summer to undergo treatment following surgery and originally planned to resume his dates on July 5 with a show in Pittsburgh. But in May he canceled all his shows for 2025, which had included stops at Yankee Stadium and Citi Field in New York and MetLife Stadium in New Jersey, as well as shows in Cincinnati, New Orleans, Santa Clara, Calif., Hollywood, Fla. and Washington D.C.

The first part of the documentary — which was co-directed by Jessica Levin — is slated to debut on HBO Max on Friday (July 18); the second part will debut on July 25. The film follows Joel’s path from his childhood through his rise to fame, chronicling a number of difficult periods in the singer-songwriter’s life, as well as telling the stories behind such beloved songs as “River of Dreams” and “New York State of Mind,” among others.

Check out a preview of the doc below.

UPDATE (July 16): Diplo has been added to the lineup for the iHeartRadio Music Festival Lineup in Las Vegas on Sept. 19 and 20, ensuring that dance music will be well-represented at the annual all-genre event. Justice, the French electronic duo which won a Grammy earlier this year for “Neverender,” its hit collab with Tame Impala, was already on the bill.

PREVIOUSLY (June 3): Jelly Roll, Tate McRae, Mariah Carey, Maroon 5 and Ed Sheeran are among the artists set to perform at the 2025 iHeartRadio Music Festival. Hosted by Ryan Seacrest, the event will be held on Sept. 19 and Sept. 20 at T-Mobile Arena in Las Vegas.

The lineup will also include performances by Bryan Adams, Feid, GloRilla, John Fogerty, Justice, Lil Wayne, LL COOL J, Sammy Hagar, The Offspring and Tim McGraw, with more to be announced.

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On each of those two nights, the 2025 iHeartRadio Music Festival presented by Capital One will broadcast live via iHeartMedia radio stations throughout the country across more than 150 markets. Hulu will be the official streaming destination of the festival, with performances livestreamed each night exclusively to all Hulu subscribers. Additional information about the livestream will be posted across Hulu’s platform and social media channels.

Tickets go on sale to the general public on AXS.com beginning Friday, June 13, at 2 p.m. ET/ 11 a.m. PT.

Eligible Capital One cardholders will have priority access to presale tickets for the iHeartRadio Music Festival beginning Wednesday, June 11, at 10 a.m. PT/1 p.m. ET through Friday, June 13, at 10 a.m. PT/1 p.m. ET or while presale tickets last. Cardholders will also be able to add a Capital One Access Pass to their purchase to enjoy an exclusive pre-show party with LL COOL J on Friday or Jelly Roll on Saturday, which includes food, drinks and a private performance. Pre-sale info and tickets will be available at iHeartRadio.com/CapitalOne.

In addition, throughout a summerlong on-air and online promotion, iHeartMedia station listeners across the country will have chances to win exclusive trips to Las Vegas.

The iHeartRadio Music Festival will be executive-produced by John Sykes, Tom Poleman and Bart Peters from iHeartMedia and Diversified Production Services (DPS). iHeartMedia will also executive-produce the livestream and VOD special on Hulu.

For more details about the iHeartRadio Music Festival, visit iHeartRadio.com/festival. iHeart notes that artists and/or the event are subject to change or cancellation without notice.

Anna Wilson went into a taping of America’s Got Talent thinking that she was just there as a fan — but really, she was mere moments away from auditioning, thanks to her mom.

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On the Tuesday (July 15) episode of the competition series, the 21-year-old Marylander looks stunned as she sees her mother, Carrie, walk out on stage in front of judges Simon Cowell, Howie Mandel, Mel B and Sofia Vergara. Anna’s initial shock quickly turns to anxiety, however, when Carrie explains that she isn’t the one auditioning, as she’d signed up her daughter instead.  

As Anna starts to cry, all four judges look equally surprised. “I’d be so mad at my mom,” Mel B says, with Vergara agreeing, “I would kill her.”

After talking a bit with Anna, who joins her mom on stage, Cowell gives her about an hour to prepare a song. When she returns, the aspiring singer reveals that she’ll be performing Adele’s version of Bob Dylan’s “Make You Feel My Love” because “I always dedicate it to my mom, so I thought it was a full-circle moment.” 

Even so — and despite Anna’s deep vibrato sounding lovely on the ballad — Cowell quickly cuts her off mid-song. “Anna, I hate to do this,” he tells her. “I think that song is a bit boring.”

Rising to the occasion, the contestant then pulls out a second track: Maren Morris’ “My Church.” The energy in the room palpably increases as Anna belts out the lyrics and adds her own flair to some of the notes, earning applause and cheers from the crowd.

Afterward, Cowell is clearly impressed. “I think most people put in your position would’ve just ran, but you were willing to take the challenge,” he says to Anna, who looks nervous but stoic. “It showed that you’ve got guts, and I really, really like you.”

Mandel and Vergara agree. All of the judges except for Mel B, who declared that she just wasn’t “feeling it,” end up passing Anna on to the next round, where, hopefully, she’ll have more time to prepare before her next performance.  

On Instagram, Anna gushed about the experience. “I’ve dreamed of becoming a singer ever since I was a little girl,” she wrote Monday (July 14). “I’ve imagined what it would be like to audition in front of Simon Cowell, and to actually audition with him right there in front of me was the most surreal feeling of my life. I want to thank my mom, because without you, this experience would have never been possible.”

Anna’s performance marks just the latest impromptu audition of AGT season 20, which kicked off in late May. A week prior, Cowell cut off a hopeful named Bellina to ask her granddaughter, Lilliana — who was accompanying her grandmother on guitar — to sing instead.

America’s Got Talent airs Tuesdays on NBC and streams on Peacock. Watch Anna’s audition above.

The European Commission will begin a formal antitrust investigation into Universal Music Group’s planned acquisition of Downtown Music later this month, according to a Reuters report.

The European Union’s competition regulator is expected to begin the four-month probe of UMG’s Virgin Music Group’s $775 million bid for Downtown after its standard preliminary review of the deal wraps up on July 22, says Reuters, citing three anonymous sources.

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The deal, which UMG has said could close later this year, has triggered waves of backlash from independent music trade organizations and companies who object to the world’s largest music company being allowed to acquire one of the few remaining standalone services powering distribution for independents.

A spokesperson for the European Commission did not immediately respond to a request for comment.

A UMG rep declined to comment because it is awaiting the European Commission’s decision. The company went on to say, “We do, however, remain confident that the combination of Virgin and Downtown will create an improved offering in the growing and highly competitive label services category that today consists of roughly 100 companies, one that will provide a wide range of services to help independent artists, labels and entrepreneurs achieve their commercial and creative goals. “

Founded in 2007 in New York, Downtown Music Holdings is the parent company of the direct-to-creator distributor CD Baby, and the direct-to-business technology and distribution platform FUGA, as well as SongTrust and several other companies.

Independent music organizations IMPALA, Beggars Group, A2IM and Secretly Group and others have called for regulators to block the deal, objecting to it on anticompetitive grounds. Some have voiced concerns that UMG could gain access to data from the indies that use FUGA as their pipeline to the broader marketplace.

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Virgin’s co-CEOs Nat Pastor and JT Meyers pushed back against those claims in a note sent to staff in early July, saying the Downtown deal would strengthen Virgin’s foundation and add to the flexibility it can offer clients of its indie services.

UMG most recent acquisition of an independent music company came last fall when it expanded its ownership stake in [PIAS], an indie label group that includes Play It Again Sam, harmonia mundi and Spinefarm. At the time, a UMG executive said the deal “enhances our ability to support the independent artist and label community globally.”

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ATEEZ is embarking on a North American tour following the release of their 2025 album Golden Hour: Part 3.

The album dropped June 13, 2025, and debuted at number one on Billboard’s Top Album Sales chart. This marks the boy group’s fifth consecutive number one on that chart. The album is seemingly part of a series of albums with the same name, following Golden Hour: Part 2, which was released back in November of last year to much fanfare.

To celebrate their achievements thus far, the K-pop group has joined the likes of Beyoncé, Megan Thee Stallion, Dua Lipa and Doja Cat, who have chosen Amazon as the destination for their official tour merch.

This marks ATEEZ’s second official drop through the online retailer, which gives access to tour merch to superfans all over. The new merch drop is inspired by the group’s latest album and includes everything from cutsey little keychains to basketball-inspired jerseys with ATEEZ iconography featured throughout. One of the most notable items you can choose from includes a new light stick featuring a gold base and an exclusive box that you can display when it’s not in use.

Keep reading to shop ATEEZ’s new tour merch via Amazon.

gold ateez light stick

ATEEZ Official Light Stick – Version 2

The new version of the K-pop group’s lightstick comes with a lock design on the handle and a sand timer within the plastic dome. You’ll be able to choose from four different modes for the LED lights and you can also open the top to customize your experience. Batteries are not included.


Amazon Official ATEEZ Tour Merch: Buy New Light Stick, T-Shirts Online

ATEEZ Official Tour Merch Cushion Keyring

For those looking to accessorize everything from bags to keychains, ATEEZ’s new merch is for you. You’ve got eight keychains repping eight members equipped with uniquely-shaped keyrings and accompanying charms. Each charm is insanely adorable, bringing a playfulness to everything it’s clipped onto.


Amazon Official ATEEZ Tour Merch: Buy New Light Stick, T-Shirts Online

ATEEZ Official Tour Merch Basketball Uniform

If you’re looking for merch that doesn’t scream cheesy, you’re in the right place. This jersey is extremely stylish, boasting street style flair with subtle hints to your fave K-Pop group. Sizing ranges from small, medium and large.


Amazon Official ATEEZ Tour Merch: Buy New Light Stick, T-Shirts Online

ATEEZ Official Tour Merch Slogan Muffler

Cozy and cool, this ATEEZ-branded muffler is affixed with the K-Pop group’s tour name in striking graphics set atop a black background. The fringe trim offers the piece a fashionable quality that most merch pieces don’t often have.


If you want to show your love for a specific member, the group’s merch store also includes black T-shirts that spotlight each individual member including Hongjoong, Jongho, Mingi, San, Seonghwa, Wooyoung, Yeosang and Yunho available for $30 each.

Tickets are still available to see ATEEZ’s 2025 North American tour are currently available now on sites like Ticketmaster, StubHub, Vivid Seats (score $20 off purchases of $200+ with code BB2024), Gametime (get $20 off orders of $150+ with code SAVE20) and SeatGeek (first purchases can use BILLBOARD10 to save $10 off your ticket purchases of $250+).

ATEEZ 2025 In Your Fantasy Tour Dates

Below are the latest ATEEZ 2025 In Your Fantasy tour dates or you can click here for more info.

  • July 16, 2025 Baltimore, MA CFG Bank Arena
  • July 19, 2025 Nashville, TN Bridgestone Arena
  • July 21, 2025 Orlando, FL Kia Center
  • July 22, 2025 Orlando, FL Kia Center
  • July 26, 2025 Chicago, IL Wrigley Field
  • July 30, 2025 Tacoma, WA Tacoma Dome
  • August 2, 2025 San Jose, CA SAP Center at San Jose
  • August 8, 2025 Los Angeles, CA BMO Stadium
  • August 9, 2025 Los Angeles, CA BMO Stadium
  • August 12, 2025 Glendale, AZ Desert Diamond Arena
  • August 16, 2025 Arlington, TX Globe Life Field
  • August 23, 2025 Mexico City, Mexico Estadio GNP Seguros

For more product recommendations, check out ShopBillboard‘s roundups of the best BLACKPINK merch, BTS merch and Stray Kids merch.

Billboard revealed the lineup for its Hip-Hop/R&B LIVE concert — the centerpiece of Hip-Hop & R&B Week — on Wednesday (July 16), which will be headlined by fast-rising R&B star Leon Thomas.

The free show, which is sponsored by State Farm, will also see performances from some of the brightest the genres have to offer, as GELO, Odeal and Ravyn Lenae are set to hit the Webster Hall stage in New York City on Sept. 5.

“Billboard has always been at the forefront of recognizing and promoting emerging talent,” said Mike Van, CEO of Billboard. “This concert is a testament to the vibrant future of hip-hop and R&B and our commitment to celebrating artists who are shaping the music landscape.”

Fans looking to attend the show should RSVP at the Billboard Hip-Hop LIVE website. Other activations at the event will include a State Farm-sponsored printing station for custom T-shirts and a L’Oreal – Ralph’s Club photo booth.

Leon Thomas has put together a banner campaign in the last year as his hit “MUTT” continues to climb the Billboard charts, where the D. Phelps and Freaky Rob-produced track peaked at No. 12 on the Billboard Hot 100.

Thomas and Odeal connected for the guitar-tinged “Miami” earlier on July 9, marking the talented artists’ first collaboration.

GELO picked up his basketball and burst onto the hip-hop scene in January with the release of his viral “Tweaker,” which reached No. 29 on the Hot 100. The hooper-turned-rapper is gearing up for the arrival of his anticipated League of My Own debut album on Friday (July 18).

Ravyn Lenae has been a breath of fresh air in R&B. The Chicago native’s 2024 “Love Me Not” served as Lenae’s breakout anthem as the soulful track rumbled to No. 12 on the Hot 100.

Stay tuned for more events to be announced for Billboard‘s Hip-Hop & R&B Week.