Billie Eilish spoke at the Grammy Awards. And a whole lot of wealthy old geezers listened, complained and, well, they ought to be ashamed.

That’s the gist of a message posted by Finneas on Instagram Stories, following his sister’s rousing speech Sunday, Feb. 1 at the Grammys.

“Seeing a lot of very powerful old white men outraged about what my 24 year old sister said during her acceptance speech,” he writes. “We can literally see your names in the Epstein files.”

A gold rush wasn’t expected, but that’s what panned out as Eilish came out on top in the Grammys song of the year category for “Wildflower,” from her 2024 album Hit Me Hard and Soft. With that win, the pop superstar added an 11th golden gramophone to her imposing tally, and used the platform of her speech to put the Trump administration on blast.

Eilish took the stage with her writing partner, musical foil and brother Finneas, to accept the award from songwriting legend Carole King.

“As grateful as I feel, I honestly don’t feel like I need to say anything but that … no one is illegal on stolen land,” she remarked. “And, yeah it’s just really hard to know what to say and what to do right now,” continued Eilish, who, like many in the audience at the Crypto.com Arena in Los Angeles, was wearing an “ICE Out” pin as part of a protest against Trump’s immigration enforcement surge, which in January resulted in the killing of two American citizens by immigration enforcement agents.

“I feel really hopeful in this room, and I feel like we just need to keep fighting and speaking up and protesting. Our voices really do matter and the people matter,” Eilish continued. She sounded off with, “And f–k ICE is all I wanna say, sorry.”

As previously reported, Eilish has spent the past several weeks vocally criticizing the Trump administration’s immigration actions, calling ICE a “terrorist group” after its killing of 37-year-old poet and mother of three Renée Nicole Good, and blasting the organization’s Minnesota operation while accepting the MLK Jr. Environmental Justice award in January.

Finneas, too, has been vocal about ICE and the hypocrisy of conservative commentators.

The producer, songwriter and artist stepped in, and promised to keep speaking up, when USA Today published an op-ed titled “PSA to celebs: Stick to performing, stay away from politics,” written by Ingrid Jacques.

In a Threads post, Finneas writes: “You just can’t do both. You can’t say it doesn’t matter what musicians or celebrities say or think but then talk about it for days. You’re out here making it matter. I’ll keep speaking up especially if it keeps bothering you.”

Hatchie is strapped into the Carousel.

On the eve of another United States run, and the announcement of new shows closer to home, the Australian dream-pop practitioner drops “Carousel,” the latest single from her third studio album Liquorice.

“Carousel” explores themes of fixation, longing and emotional suspension, all of it dripping in shoegaze and swirling guitars, almost thick enough to touch. Stream it below.

Hatchie is the project of Melbourne-based, Brisbane-raised singer-songwriter Harriette Pilbeam. And she has come out firing in the New Year.

In support of Liquorice, she plays the Lodge Room this evening, Feb. 5, in Los Angeles, followed by a show Feb. 20 at New York’s Music Hall of Williamsburg. She’ll return to Sydney for a headline show May 3 at The Vanguard, as part of The Great Southern Nights 2026, a weeks-long lineup across New South Wales that includes Paul Kelly, Missy Higgins, Thelma Plum, Jet, 3% and many others.

As previously reported, Hatchie features on the new Yo Gabba GabbaLand! Season 2 soundtrack, alongside Santigold, CHVRCHES, Ziggy Marley and Sharon Van Etten, with her original cut “Movin’ My Body,” now streaming as part of the series on Apple TV+.

“I had never watched YGG but admired from afar,” she tells Billboard. “A Hatchie fan who worked on the show reached out to us about contributing to the soundtrack and we thought it would be a fun project. We were sent a few songs to choose from and instantly clicked with ‘Moving My Body.’”

Liquorice is Hatchie’s first album release through a global deal with Secretly Canadian. 

Led off by the singles “Lose It Again,” “Sage,” and “Only One Laughing, the LP was recorded by producer Melina Duterte’s (Jay Som) at her home studio in Los Angeles, alongside Stella Mozgawa (Warpaint, Courtney Barnett) on drums, with Alex Farrar (Wednesday, MJ Lenderman) on mixing duties at Asheville’’s Drop of Sun studios, and Greg Obis (Dutch Interior, Slow Pulp, Wishy) mastering in Chicago. 

“I can’t wait to finally play my new album to my Australian fans,” Hatchie enthuses. “It feels like forever since I’ve played a show in Sydney and it just feels right to do it with our old friends GAUCI. I’ve been blown away by the response to Carousel and can’t wait to share more sweet moments on the road.”

Hatchie ‘Liquorice Tour’ 2026:

Feb. 5 — Lodge Room, Los Angeles
Feb. 20 — Music Hall of Williamsburg, New York
Feb. 27 — Bergy Ballroom, Melbourne, Victoria (*Sold Out)
May 3 — The Vanguard, Sydney, NSW (*New Show)
April 12 — Empty Bottle, Chicago, IL @  (*New Show)

Tickets at hatchie.net.

Next stop, HADES.

After sharing the new single “POSSESSION,” her first new music in three years, Melanie Martinez is taking us on a trip to HADES, her fourth studio album that’s set to drop March 27.

“Each song on this record explores a different trap set by the kind of evil, patriarchal energy that is HADES. It isn’t about predicting a dystopian future,” she explains in a statement announcing the new collection. “It’s about recognizing destructive patterns that already exist. The same dynamics repeating in different places. Control disguised as protection. Cruelty framed as logic. Exploitation sold as opportunity. Once you start noticing those threads, it becomes hard to ignore them.”

HADES is an appropriately hot theme for this alt-pop phenom. Following its release last month, “POSSESSION” was by some distance the favorite new cut of the week, as chosen by readers of Billboard.com. Also, the track debuted with more than 2.7 million Spotify streams in its first 24 hours and has surpassed 10 million to date, according to reps at Warner Music. It’s now Martinez’s fastest-streaming release and the biggest female debut of 2026.

HADES is the followup to 2023’s Portals, which peaked at No. 2 on the Billboard 200, her third consecutive top 10 appearance on the chart. Portals went all the way to No. 1 on Australia’s ARIA Chart. Her debut album from 2015, Cry Baby, peaked at No. 6 on the Billboard 200, and her sophomore album from 2019, K–12, hit No. 3 on the all-genres tally.

Martinez burst into the public consciousness in 2012 as a contestant on season 3 of The Voice. Although she didn’t claim the crown, she’s been winning ever since. Career streams top 30 billion, including upwards of 5.5 billion official YouTube views with more than 62 million followers across platforms.

Meanwhile, Cry Baby spawned the perfume of the same name, which was self-released the year after the album’s release. It was a sell-out. Later, she partnered with Flower Shop Perfume on a perfume line, the first of which arrived in 2023 — with similar success to its predecessor. 

Pre-save HADES here.

Four months after the release of The Life of a Showgirl, Taylor Swift has announced a second music video from the project: The “Opalite” music video will arrive on Spotify and Apple Music first thing Friday morning (Feb. 6).

The pop star made the announcement on her website, unveiling a countdown clock to midnight ET on Thursday night. Following the Apple and Spotify premiere, the music video will be available Sunday (Feb. 8) on YouTube.

“Opalite” will be the second visual unveiled from the project, following a video for lead single “The Fate of Ophelia,” which first arrived as part of Taylor Swift: The Official Release Party of a Showgirl in movie theaters before hitting YouTube two days later. Fans will have to wait and see whether the “Opalite” video is the same as the version that was shown during the album’s theatrical release party or different.

The Life of a Showgirl debuted at No. 1 on the Billboard 200 following its Oct. 3 release and spent a total 12 weeks atop the chart. It moved a record 4 million album-equivalent units in its first week, with “The Fate of Ophelia” debuting at No. 1 on the Billboard Hot 100 that week, followed by “Opalite” at No. 2 — which is so far its peak on the chart.

Swift’s decision to premiere the video first on Spotify and Apple Music follows YouTube’s December announcement that it was withdrawing its streaming data from all of Billboard‘s charts. YouTube’s withdrawal followed Billboard‘s Dec. 16 announcement of a change to chart methodology that will continue to weigh subscription streams more favorably than ad-supported streams, in a bid to better reflect changing consumer behaviors and the increased revenue derived from streaming in the industry. The change means that paid/subscription streams will be weighted against ad-supported streams at a 1:2.5 ratio, narrowed from the previous 1:3 ratio.

In addition to the music video, Swift also announced an “Opalite” 7-inch vinyl single available to purchase for only 48 hours on her web store, set to ship on or around Feb. 9.

Cam’ron recently elaborated on why he decided to file a lawsuit against J. Cole over their “Ready ’24” collab on an episode of Talk With Flee.

The Harlem rapper explained that he filed the lawsuit to get the Carolina rapper’s attention after being given the runaround when he needed the favor returned of either a feature or an interview on one of his talk shows.

“I never ever wanted to do anything as far as a lawsuit was concerned,” he began. “This is exactly what happened, just so you know, and I don’t really care anymore; it was just more to get his attention. Not saying that I don’t need to be compensated for what I do or do what you say you’re gonna do. And to me, being a man is keeping your word, and I know everybody’s busy and has things to do and so on and so forth. But if I give you my word four or five times, I gotta do it one time outta the four or five times.”

He added that when Cole asked for a favor, he was able to deliver in a timely fashion. “So, on [The Off-Season], I did an intro for him. He needed it within 24 hours. Luckily I was in my home studio… I called my engineer over, knocked it out and gave it to him. Cool. I told him I may need a verse whenever I get a project done. He said, ‘Cool.’” Cam then brought up how he recorded his feature on “Ready ’24” in 20 minutes after meeting up with Cole and Cordae at a studio in New York City. “I knocked that sh– out and went off about my business,” he said before mentioning that he asked Cole for a verse in return.

However, when the time came, Cam joked that he told him that, “The chakra ain’t right right now, you know the moon gotta align with the stars. When I write I put my all into it.” With Cam then responding with, “OK, let’s put your all into it. Give me that first. You called me twice to do something, and I did it. One day you have 48 hours to do it. Then I knocked the other thing out as soon as I came to New York, because you ain’t wanna send me your record, you wanted to be in the studio with me. I knocked it out. Cool, you don’t give me the record, which is fine. Then I say, forget the record. Let’s do an interview.”

J. Cole apparently agreed to it because he had a project planned, but when Cam reached out to schedule the interview, he claimed that he was given the run around once again, but this time it was because it was in the midst of the Kendrick Lamar and Drake battle and he didn’t want to talk about it without having a project out. “‘I can’t do it now because I don’t feel like talking about that right now,’” Cam recalled. “I said, ‘Look, I’ll do the interview. I won’t even bring that up.’ He says, ‘Nah, I can’t do no interview and not talk about it.’ ‘Alright, well, when can I get the interview?’ ‘Yo, February definite. February, I’m dead ass on February.’ February come. ‘Yo, what’s up?’ ‘Oh, sh–. Yo, I’m still working, man.’”

J. Cole’s long-awaited seventh album The Fall-Off is set to finally drop on Friday, Feb. 6, so maybe he’ll give Killa an interview in the near future.

Billboard reached out to both Cam and Cole’s teams for comment.

You can watch the full episode below.