Buckingham Palace temporarily became the Pink Pony Club on Saturday (July 5), with King Charles celebrating Pride 2025 by having the British Army Band perform a Chappell Roan hit on his front doorstep.

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In a video shared by the Royal Family’s official Instagram account, the uniformed army musicians stand in an arc around a conductor right outside the palace while playing a concert band arrangement of “Pink Pony Club.” Where Roan’s voice would usually sing, a choir of brass instruments instead plays the melody of the lyrics, “God, what have you done?/ You’re a pink pony girl/ And you dance at the club.”

“Happy Pride!” reads the video’s caption, along with a rainbow and disco ball emoji.

Since dropping in 2022 and later rising to No. 4 on the Billboard Hot 100 this past April, “Pink Pony Club” has become a bonafide LGBTQ+ anthem. London held its 2025 Pride festivities on July 5 this year, with Chaka Kahn headlining a day of celebrations that also featured a number of LGBTQ+ performers in the central part of the city.

Music has long been a focus of the Royal Family under King Charles, who took the throne after Queen Elizabeth died at the age of 96 in 2022. In March, the monarch announced that he would be DJing an Apple Music radio show titled The King’s Music Room, on which he showcased some of his favorite tracks by Bob Marley, Kylie Minogue, Grace Jones, Davido and more.

“Throughout my life, music has meant a great deal to me,” King Charles said at the time. “It has that remarkable ability to bring happy memories, comfort us in times of sadness and take us to distant places. But perhaps, above all, it can lift our spirits to such a degree, and all the more so when it brings us together in celebration.”

Over in the States, Roan is fresh off the release of her latest single, “The Giver,” in March. The track marked her first piece of new music since her 2024 breakout hit “Good Luck, Babe!,” which followed 2023 debut album The Rise and Fall of a Midwest Princess.

Watch the British Army Band perform “Pink Pony Club” below.

When the Universal Music Group announced in December that its Virgin Music Group subsidiary was acquiring indie label services company Downtown Music in a $775 million transaction, it ended months of speculation about the future of Downtown — which is comprised of FUGA, CD Baby, Songtrust and more — as its longtime financial backer looked for an exit.

What it started, however, is an increasingly heated back and forth among industry stakeholders about whether the world’s largest music company should be allowed to acquire one of the few remaining standalone services powering distribution for independent companies.

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The backlash started right away, with indie music trade organizations like IMPALA, AIM, IMPF and Beggars Group releasing statements the following day referring to the deal as a “land grab”; days later, WIN, A2IM, Secretly Group and others released a joint statement urging regulators to block the deal. Last month, Universal formally notified the European Union of its intention to move forward with the deal, which triggered a standard antitrust review by the European Commission, the entity that has until July 22 to decide to wave the deal through or investigate further, leading to further volleys from the indie community against the proposed deal, which would bring another big indie distro company under UMG’s purview following its acquisition of [PIAS] last fall.

Late last week, Virgin’s co-CEOs Nat Pastor and JT Meyers sent out a memo to staff, obtained by Billboard, pushing back on many of the claims from the indie community, which largely center on anticompetitive grounds and concerns that UMG would gain access to data from the indies that use FUGA as their pipeline to the broader marketplace. 

“The deal with Downtown will strengthen the foundation we’ve built thus far,” Pastor and Meyers wrote. “Our motivation for the merger and our excitement about it are rooted in this singular opportunity: by combining Downtown’s and Virgin’s unique capabilities, the unified company will offer an even more robust and flexible suite of services to independent labels everywhere.” On the data issue, they added, “Virgin will not only uphold Downtown’s data privacy policies, we will also expand and strengthen them. Virgin already handles — with the care and confidentiality they deserve — the sensitive client data of hundreds of partners. Betraying the trust our clients have bestowed on us would be self-destructive: they would quickly, and quite rightly, end the relationship. Which is why we’re proud to say that since the day we entered this business, we have never had a single complaint of misuse of client information of any kind.”

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And in terms of the issues raised by many in the indie music community around major-owned consolidation — not just with UMG, but with Sony buying AWAL in 2022 and Warner very publicly in an acquisitive phase as it looks to bolster its own offerings — they pointed to the increase in private equity and entrepreneurial investment in distribution in the past half-decade.

“The more investment that flows into the services businesses, the more independent labels benefit, because more investment means better resources and greater competition among services providers,” the two wrote. “Today, approximately 100 services companies are competing to partner with independent labels and artists. The stronger the provider of services, the greater the chance that the independent label and artist has to succeed in today’s market.”

Now, the indie community is hitting back once again in a new open letter, signed by more than 200 indie music executives, headlined “We must keep music open” that pushes for the European Commission to decide by that July 22 deadline to continue its investigation of the deal by entering a “Phase II” review, writing, “This isn’t just a simple ‘investment’ in one of the world’s most prominent independent companies; it is about control.”

“The implications are profound,” the signatories write, in a letter sent to EC executive vp Teresa Ribera, which raises many of the same points that the individual companies have brought up in past statements. “A concentration of this magnitude would narrow the range of voices, styles and cultures that reach the public,” it continues. “It would give UMG further power to shape digital services, influence monetization thresholds and extract more, at the expense of the independent sector. That would reduce choice for consumers, stifle experimentation, and undermine Europe’s role as a vibrant incubator of musical and artistic expression. Fans will hear less of the new and more of the same. Artists working outside the commercial mainstream will struggle to find traction. And a once-thriving creative economy will begin to stagnate.”

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The letter is signed by business owners, association leaders and top execs from companies such as A2IM, 4AD, AIM, Beggars, Better Noise, Chrysalis, Cooking Vinyl, Dead Oceans, Domino, Epitaph, Exceleration Music, Hopeless, Jagjaguwar, Matador, Merge, Rough Trade, Secretly, Sub Pop, The Numero Group, Warp, XL, Young and more. 

“Independent music companies play a vital role in promoting music innovation, fostering diversity and protecting culture,” they wrote. “To fulfill that role, we must have fair and non-discriminatory access to the best  infrastructure in the music economy. And not be forced into structural dependence on our biggest competitor who is also shifting payment models on digital services.”

Bow-wow-wow, yippie-yo-yippie-yay! There’s a new dog in Snoop Dogg‘s house! The iconic rapper recently revealed that he has a new pooch in the Dogghouse.

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The little tan pup appears to be a French bulldog, and made his debut on the 16-time Grammy nominated rapper’s Instagram account on June 28. “My [new emoji] family member BabyBoy Broadus,” Snoop introduced the pooch in the caption. The post included an adorable shot of Baby Boy looking straight at the camera while showing off a stylish Louis Vuitton leash, as well as a video of the little dude snuggled up on Snoop’s lap and chewing on the rapper’s Death Row jacket.

Days later, on July 3, Snoop revealed that Baby Boy now has his own Instagram account. “Follow my new life. Baby Boy Broadus. As a puppy. 😁 Me n @snoopdogg,” the rapper shared via his own account and the puppy’s.

Baby Boy’s account is already filling up with adorable snapshots and videos. In the first post, the pooch is seen sleeping peacefully while snuggled in a blanket on his first flight, which also appeared to be on a private jet. “first flight. Any1 else nap on the plane??” read the caption. Though napping appears to already be a favorite past time of the little guy, his account also shows him chowing down, slurping some water on a hot day (and reminding followers to stay hydrated in the heat!), snaps of him snuggling with Snoop and the fam, and much more.

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Snoop’s introduction of Baby Boy comes after the rapper shared the news on June 12 that his beloved French bulldog Juelz had died. “Miss my dogg @juelzbroadus,” he wrote at the time. According to TMZ, Snoop received Juelz as a gift from Wiz Khalifa for his birthday in 2012.

See a video of Baby Boy munching on Snoop’s backpack straps below:

Ryan Castro takes us to Curaçao, where he shows us where he used to work and live and talks about why the island is so special to him. He talks about his career trajectory, explains why his new album, ‘SENDÉ,’ is sentimental to his roots, defines what “awoo” means, and more!

Ryan Castro:

Good morning, what’s up? It’s a beautiful day. I’m Ryan Castro and we’re here with Billboard to spend 24 hours together. Let’s go! We’re here ein Curaçao, an island that’s really special to my life. I really enjoy being here. I like to come here to create music, to come for vacation, to visit my family because I have family here,too. I have my mom and my brothers here. We’re on our way to have lunch because we’re a bit hungry. We’re on our way to a restaurant called Perla del Mar. Almost every time I’m in Curaçao I come here. I like to come to this restaurant a lot because it was a restaurant I used to work at. I feel really happy because I feel like the fans missed out not knowing this side of me. They know a lot about me, I’ve let them know a lot about my story in Medellin, in the ghetto, on the buses I used to sing on which is how I blew up. It was on this island that I got stuck on Colombia. So I think it was the right time for me to tell them and let them know about what I was experiencing here because of my cultural influences, why I like dancehall because I’m also creating this album, too. The words that I normally use like “awoo” and all that so they know where all that comes from and where it’s like all those things that Ryan Castro does.

Keep watching for more!

Lorde scores her second No. 1 on Billboard’s Top Album Sales chart as her new studio album Virgin debuts atop the list dated July 12. The set sold 42,000 copies in the United States in the week ending July 3, according to Luminate, marking her largest sales week since 2017. The new album’s first week sales were bolstered by vinyl purchases, totaling 31,000 — Lorde’s best week on vinyl ever. It also bows at No. 1 on the Vinyl Albums chart, her first leader there.

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Also in the new top 10 of Top Album Sales, the latest albums from KATSEYE, Russ, Barbra Streisand, Bruce Springsteen and ILLIT arrive, while the vinyl releases of Playboi Carti’s MUSIC and Die Lit push both titles back onto the chart. Plus, a 20th anniversary vinyl pressing of the Pride & Prejudice film soundtrack enables the album to bow at No. 9.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units. The new July 12, 2025-dated Top Album Sales chart will be posted in full on Billboard‘s website on July 8.

Virgin’s first-week sales were aided by its availability across eight vinyl variants (including two signed editions), a standard CD and a digital download. All versions contained the same tracklist.

Virgin also enters at No. 1 on the Indie Store Album Sales, Top Rock & Alternative Albums and Top Alternative Albums charts. Indie Store Album Sales ranks the top-selling albums of the week at independent and small chain stores. Top Rock & Alternative Albums, and Top Alternative Albums, rank, respectively, the week’s most popular rock and alternative albums, and alternative albums, by equivalent album units.

Back on Top Album Sales, KATSEYE’s BEAUTIFUL CHAOS debuts at No. 2 with 30,000 sold — the pop group’s best sales week, highest charting album and second top 10. The album’s first-week sales were bolstered by its availability across nine CD variants and four vinyl variants (one signed), all with the same audio but with packaging variations. All contained collectible paper ephemera, some randomized. It was also issued as a standard digital download album for purchase.

Russ logs his fifth top 10-charted effort as his new studio album W!LD enters at No. 3 with 25,000 sold. The album’s first-week sales were aided by its availability across three vinyl variants, three CD variants and three cassette variants (some signed), as well as a standard digital download. All contained the same tracklist, and all of the physical editions were exclusively sold via Russ’ official webstore. There was also an expanded edition of the download album, sold via the webstore, that includes narration from the artist.

Barbra Streisand’s new star-studded duets album The Secret of Life: Partners, Volume Two bows at No. 4 with a little over 18,000 sold. The all-collaborations set includes recordings from Streisand with the likes of Mariah Carey, Bob Dylan, Ariana Grande and Paul McCartney. The album was available on CD, digital download and in two vinyl variants, all with the same tracklist.

A pair of albums from Playboi Carti reenter the chart, and straight into the top 10, following their vinyl release. His 2025 release MUSIC reenters at No. 5 with 16,500 sold and his 2018 album Die Lit returns at No. 6 with 12,500 sold. Both titles sold a negligible sum in the week previous, and nearly all of their sales in the latest week were from vinyl purchases. MUSIC was pressed on two variants, while Die Lit was available in just one iteration.

Bruce Springsteen’s expansive archival project Tracks II: The Lost Albums debuts at No. 7 on Top Album Sales with nearly 10,500 sold. The boxed set comprises seven never-heard full-length albums spanning 83 songs (74 that have never been released in any form). The material was recorded between 1982 and 2018 and was issued as a digital download, a seven-CD box or in a nine-vinyl box. A 20-track highlights edition of the Tracks II project, titled Lost and Found: Selections From The Lost Albums, debuts at No. 16 on Top Album Sales with 6,000 sold.

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ENHYPEN’s chart-topping DESIRE : UNLEASH falls 3-8 on Top Album Sales with about 9,500 sold (down 22%).

The soundtrack from the 2005 film Pride & Prejudice makes its debut on Top Album Sales thanks to a 20th anniversary vinyl pressing across multiple variants. In the tracking week ending July 3, the album sold just over 8,000 — across all versions of the album, old and new. The film starred Keira Knightly and Matthew Macfayden, and its soundtrack’s music was composed by Dario Marianelli, and performed by pianist Jean-Yves Thibaudet and the English Chamber Orchestra. The album also jumps 5-1 on the Classical Crossover Albums chart, marking its first week atop the list.

Closing out the top 10 of the latest Top Album Sales chart is ILLIT’s new release Bomb, selling 8,000 copies and debuting at No. 10. It’s the third top 10-charted effort for the group. The album’s first-week sales were largely driven by its availability across 14 CD variants, all with the same audio but with packaging variations. All contained collectible paper ephemera (some signed by the act), some randomized. It was also available as a standard digital download album.

Suno has announced that Paul Sinclair, former general manager and executive vp at Atlantic Records, is joining the AI music company as its first chief music officer. In this newly created role, the New York-based executive, who has been advising Suno for months now, will guide how the company’s tools are developed to support music creators at all skill levels and to “unlock new experiences between artists and fans,” as stated in a company press release.

Sinclair brings over two decades of music industry experience to his new role at Suno. First, he worked at Warner Music Group as director of digital properties, beginning in 2001, according to LinkedIn. With a longtime interest in spearheading innovation and technology in the music business, Sinclair then joined WMG’s Atlantic Records in 2006 as vp, business development and emerging technologies and stayed at the company until 2024.

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While working as Atlantic’s general manager and evp, Sinclair oversaw overall label operations and provided leadership in areas like marketing, digital, artist development, creative, sales/streaming and more. He left Atlantic late last year as part of the company’s major restructuring, which also saw other top Atlantic execs like CEO Julie Greenwald, head of marketing Grace James, senior vp or touring Harlan Frey, evp of press and media strategy Sheila Richman and many more exiting at the same time. Now, Atlantic is helmed by CEO Elliot Grainge and the GM role is held by Tony Talamo, who previously worked with Grainge at his label 10K Projects.

News of Sinclair’s hire follows a busy last few months for Suno. In recent weeks, the company has announced a bevy of new features, designed to give users more control to edit the AI-generated music that Suno produces and hopefully court more seasoned musicians to use the platform. As part of that roll out of new fetures, the AI music company also noted its acquisition of WavTool, a browser-based digital audio workstation (DAW).

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Meanwhile, the major music companies — including Sinclair’s former employer WMG — are still pursuing blockbuster lawsuits against Suno and its competitor Udio, alleging that the companies have infringed on their copyrighted sound recordings on “an almost unimaginable scale” by using them to train models without a license. In early June, however, it was reported that the majors are in licensing talks with Suno and Udio to see if private licensing agreements can be reached. It’s unclear how far along those discussions are.

Sinclair is the latest music industry veteran to be recruited by Suno. Last year, multi-platinum hitmaker Timbaland joined Suno as a strategic advisor in October 2024 to help with “day-to-day product development” and “creative direction.”

Marilyn Manson was not part of the line-up for Saturday’s (July 5) epic Back to the Beginning final concert by a reunited Black Sabbath and Ozzy Osbourne. While a murder’s row of hard rock and heavy metal superstars took the stage at Villa Park in Birmingham, England to fête the Prince of Darkness in what was billed as Osbourne’s last-ever show with original Sabbath mates guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward, Manson beamed in with a video message paying homage.

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But based on some fan reaction to the gesture, it was not well-received by all. “F–k that guy he’s a rapist piece of s–t,” wrote one fan after video of the tribute was posted. In the clip, Manson (born Brian Warner), 56 — who was accused in lawsuits from four women of sexual assault and domestic abuse — said, “It is a great honor to be here via this video,” according to the NME. “And I’d like to say congratulations, and I love you very much, Ozzy.”

After the video played at the show featuring sets from Metallica, Guns N’ Roses, Tool, Pantera, Anthrax and many more, fans weighed in online about the surprise Manson pop-in. “Eurgh Marilyn Manson making an appearance on the sabbath stream. F–k that guy he’s a rapist piece of s–t,” wrote one, with others adding, “Marilyn Manson on the black sabbath stream f–k off” and “disgraceful that he is on this otherwise outstanding Black Sabbath show.”

According to British media reports, some fans at the show booed during the video or turned their backs on Manson’s video. At press time a spokesperson for Manson had not returned Billboard‘s request for comment.

The feeling of some was summed up by another tweet that read, “ew marilyn manson go away.” Manson has long denied the sexual abuse allegations, which have resulted in his being dropped by his label, manager and booking agent, and, most recently, the Oct. 29 One Assassination Under God tour kick-off gig in Brighton, U.K. getting cancelled at the urging of members of Parliament. In January, the Los Angeles County District Attorney’s Office announced that it wouldn’t file criminal charges against Manson in the cases, citing the expiration of the statute of limitations and insufficient evidence in the alleged incidents that prosecutors said happened between 2009 and 2011.

Stories about sexual assault allegations can be traumatizing for survivors of sexual assault. If you or anyone you know needs support, you can reach out to the Rape, Abuse & Incest National Network (RAINN). The organization provides free, confidential support to sexual assault victims. Call RAINN’s National Sexual Assault Hotline (800.656.HOPE) or visit the anti-sexual violence organization’s website for more information.

The worlds of K-pop’s biggest boy band and girl group collided over the weekend, with j-hope of BTS showing support for BLACKPINK by pulling up to the second night of the DEADLINE World Tour on Sunday (July 6).  

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In a video shared by Billboard Korea on Instagram, j-hope is escorted to his seat at Goyang Stadium in Goyang, South Korea, where ROSÉ, LISA, JENNIE and JISOO played two back-to-back shows to kick off their first full-band trek in two years. Excited fans cheer and snap videos as the boy-band star — looking suave in an open button-down shirt and shades — passes by.

Another clip shows j-hope vibing to music playing over the speakers, making up little dance moves in the stands.

BLACKPINK’s shows in Goyang put an end to a two-year band break, during which the four members focused on solo music (some of which they performed in between full-group numbers over the weekend). It’s possible j-hope attended Night 2 to take notes on his own band’s upcoming reunion, with BTS set to come back together in 2026 now that the members’ respective times in the South Korean military have concluded. 

“We’ll be releasing a new BTS album in the spring of next year,” the band announced in a joint statement on July 1. “Starting in July, all seven of us will begin working closely together on new music … We’re also planning a world tour alongside the new album. We’ll be visiting fans all around the world, so we hope you’re as excited as we are.”

BTS last dropped an album in 2020, with Be topping the Billboard 200 in December that year. Similarly to BLACKPINK, the seven members of the boy band each experimented with solo music during their time apart, with j-hope dropping EP Hope On The Street, Vol.1 in 2024. Most recently, he released singles “Mona Lisa” and “Killin’ It Girl” featuring GloRilla in March and June, respectively.

“After pursuing our own little ventures, we are now coming back together, and I love that for us,” j-hope told Weverse Magazine of BTS’ upcoming reunion in December. “When we’re all back together as a group, it’s going to have a huge impact, and everybody’s going to be watching. I’m excited to see what it’ll feel like when we perform together again. I want to come back in style and say, ‘This is us. This is BTS.’”

At long last, the members of BLACKPINK finally took the stage as a unit again in Goyang, South Korea, kicking off their first trek in two years with the opening night of their DEADLINE World Tour on Saturday (July 5).

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Appearing in front of thousands of fans at Goyang Stadium, ROSÉ, LISA, JENNIE and JISOO performed a number of songs from the girl group’s discography, including several of their Billboard Hot 100 hits. It marked one of the first times BLINKs have gotten to see smashes such as “Lovesick Girls,” “Pink Venom” and “How You Like That” performed live since the Born Pink World Tour ended in 2023, after which the members took some time apart to focus on solo projects before finally announcing their reunion in February.

And in addition to performing as a band on opening night, the foursome also dedicated time in the setlist for each member to showcase some of the solo material they worked on during the group’s break. Each taking the stage sans their bandmates at different points in the show, JISOO shared songs from her EP Amortage, while LISA, JENNIE and ROSÉ performed selections from their debut solo albums — Alter Ego, Ruby and rosie, respectively.

But what was perhaps most exciting for fans in the crowd was the debut of a brand new BLACKPINK song titled “Jump,” which the ladies actually performed twice Saturday night. Though it hasn’t yet been officially released, the track — which they teased the night before the show — marks the quartet’s first new song since 2022’s Billboard 200-topping album Born Pink and 2023’s “The Girls” for Blackpink the Game — and according to hints some of the members have dropped in recent months, more new music is coming soon.

BLACKPINK will now spend most of the rest of this year and the first month of 2026 touring through North America, Europe and Asia. As the group travels the globe, check out the songs on the DEADLINE World Tour setlist — as it was laid out on Night 1 — and the respective LPs they come from below.

Merck Mercuriadis, founder of the influential catalog investment group Hipgnosis, is preparing to launch a re-vamped version of that company, this time with the aim of co-investing with artists and their managers, according to an article in the Financial Times.

The former manager of star acts like Beyoncé, Guns N’ Roses and Elton John, Mercuriadis built a suite of Hipgnosis companies–two catalog acquisition funds, and an investment manager that worked to generate a return on publishing and other rights it owned to songs by the likes of Shakira, Red Hot Chili Peppers, Fleetwood Mac and Diana Ross. Amid tumult at the branch of Hipgnosis that was publicly listed on the London Stock Exchange, private equity giant and Hipgnosis-backer Blackstone bought and consolidated those companies, renaming them Recognition Music, with Mercuriadis ultimately leaving the group in 2024.

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During Hipgnosis’ heyday, Mercuriadis made bold pledges to be artists’ and songwriters’ advocate making them “the most money possible while compromising the least.” The new Hipgnosis that he plans to launch will continue that mission by creating a platform providing services to superstar artists who are their own brands and buying some catalogs, too, the music industry veteran told the FT in an article published July 6.

Investors have committed hundreds of millions of dollars of backing for Mercuriadis’ new venture, and the group is in talks for its first two acquisitions, the FT reports.

In the wide-ranging interview, Mercuriadis rejected the assertion that Hipgnosis fueled a run-up in the price of catalogs by overpaying, he blamed “activist investors for the sudden end of his former company,” and he said he hopes one day to buy back the rights he accumulated under the Hipgnosis name.

“One of my goals is to buy the catalogue back,” Mercuriadis said in the report. “Blackstone are … getting a great return on the catalogue that I put together. So I’m going to have to pay properly for it.”

Recognition Music did not immediately respond to a request for comment.