K-pop companies SM Entertainment and HYBE were among the best-performing music stocks of the week as most stocks were dragged down by continued uncertainty about U.S. tariff policy and new data on higher-than-expected inflation. 

SM Entertainment, home to NCT Dream and RIIZE, was the week’s best performer after gaining 6.7% to 107,000 KRW ($72.91). That brought the company’s year-to-date gain to 47.4% — the best of any music stock. 

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HYBE, which counts BTS and its solo members’ projects among its vast roster, improved 3.7% to 240,500 KRW ($163.87). On Thursday (March 27), HYBE announced that BTS songs such as “Dynamite” and “Butter” will be featured on Lullaby Renditions of BTS, out April 4 on Rockabye Baby! Music. HYBE shares are up 19.7% year to date, the fifth-best among music stocks. 

K-pop fared well during a down week for most stocks and markets in general. YG Entertainment, home of BLACKPINK and BABYMONSTER, rose 3.3% to 63,500 KRW ($43.27) while JYP Entertainment was unchanged at 61,300 KRW ($41.77). 

Outside of South Korea, music stocks reflected the challenging economic conditions and uncertainties that have hurt stocks in recent weeks. The 20-company Billboard Global Music Index (BGMI) declined 2.9% to 2,459.98, marking its fourth decline in the last six weeks. With just eight of its 20 stocks finishing the week in the black, the BGMI fell into correction territory as its value has declined 10.7% since the week ended Feb. 14. The first six weeks of 2025 were good enough to overcome the recent slump, however, and the BGMI is up 15.8% year to date and has gained 40.4% over the last 52 weeks. 

Stocks took another hit on Friday (March 28) after the core personal consumption expenditures price index, a measure closely watched by the U.S. Federal Reserve, increased 0.4% in February. That put the 12-month inflation rate at 2.8%. Both figures were above experts’ expectations. The tech-heavy Nasdaq composite finished the week down 2.6%, increasing its year-to-date decline to 11.7%, while the S&P 500 fell 1.5%. In the U.K., the FTSE 100 increased 0.1%. South Korea’s KOSPI composite index fell 3.2%. China’s SSE Composite Index dropped 0.4%.

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The BGMI was pulled down by Spotify’s 6.5% decline and a 4.2% drop by German concert promoter CTS Eventim. Warner Music Group, one of the index’s largest companies, dropped 2.7% to $31.56. 

Tencent Music Entertainment (TME) gained 2.7% to $14.38 after Deutsche Bank upgraded its rating on TME shares to buy from hold. Universal Music Group rose 2.0% to 25.99 euros ($28.12) after Wells Fargo upped the rating on the company’s shares to overweight from equal weight and increased the price target to 33 euros ($35.70) from 28 euros ($30.29). 

Music streaming company LiveOne had the week’s biggest decline at 14.1%. The company announced on Wednesday (March 26) that subscribers and ad-supported users surpassed 1.4 million. 

Radio company iHeartMedia fell 6.8%, putting its year-to-date loss at 23.0%. Satellite broadcaster SiriusXM dropped 3.1% to $22.75, though it’s still up 1.7% in 2025. 

The Breakfast Club co-hosts Jess Hilarious and Loren LoRosa addressed their recent drama in the best way possible — by joking about it.

Earlier today, they posted a parody music video of Monica & Brandy‘s hit song “The Boy is Mine” and called it, “The Job is Mine.” And while they can’t sing as good as Brandy and Monica, the song is pretty funny and immediately quiets all the noise surrounding them from this past week.

Everything unfolded after Jess Hilarious — who was away on maternity leave — took to Instagram and ranted about her sub LoRosa doing a segment that Jess originally came up with and admitted to feeling like her job was on the line. “I fought for that segment. That’s my segment,” she said. “If Loren is doing it now, it should be hers. But nobody told me anything. I was just coming to work every day, completely out of the loop. We supposed to be a team.”

She then continued by saying her co-hosts Charlamagne tha God and DJ Envy didn’t stick up for her online as some fans criticized her and preferred LoRosa’s approach to the role over hers. “But not one person comes to my defense at all, ever, with this online sh—t. I feel played with, so I’m gonna play with gas. I’ve been quiet a lot.”

Jess Hilarious replaced Angela Yee, who left the legendary morning show in 2022 after 12 years to host her own nationally syndicated show in Way Up with Angela Yee.

Billboard Women in Music 2025 takes place Saturday, March 29, and Billboard’s staff is breaking down each of the honorees’ successes that earned them their awards, from JENNIE receiving the Global Force Award to Doechii being named Woman of the Year, to Gracie Abrams being honored as Songwriter of the Year, and more!

Who are you most excited to see at Women in Music? Let us know in the comments!

Gail Mitchell:
Doechii is our Woman of the Year. 

Lyndsey Havens:
Everybody just wants to be like JENNIE. She embodies a hitmaker. It’s not just one. There’s a lot there. 

Kristin Robinson:
This year’s Women in Music, we have some top-tier honorees.

Melinda Newman:
Gracie Abrams is our Songwriter of the Year.

Kristin Robinson:
One of my favorite things about Gracie Abrams is that her fan base loves her so much, as much as they love her songs. And I think that’s, like, a magical X-factor quality that we don’t see very often.

Melinda Newman:
Gracie Abrams is writing from a point of truth. She’s not afraid to be vulnerable, and it’s made her very popular with her fans because they can relate to everything she’s talking about.

Kristin Robinson:
Gracie Abrams has grown so fast. One prime example of that is that she is headlining Lollapalooza this year.

Melinda Newman:
Gracie has also learned from the best. She spent a lot of time on the road with Taylor Swift, and you can tell she took in a lot of what makes Taylor Swift so special with her fans, but she’s put it through her own lens, and so that’s what makes her so popular these days.

Kristin Robinson:
GloRilla is this year’s Powerhouse. One of my favorite things about GloRilla is how much she reps her hometown of Memphis, Tenn. And everyone back home loves her. They adore her. 

Keep watching for more!

Lil Durk’s incarceration hasn’t stopped his music output. The Chicago rapper released his Deep Thoughts album from behind bars on Friday (March 28).

With Durk behind bars inside MDC Los Angeles, his management team picked up the slack to piece together his 20-track Deep Thoughts album with his blessing. The project features assists from Future, Lil Baby, Hunxho and Jhené Aiko.

It’s Durk’s first album since 2023’s Almost Healed. The 32-year-old continued to gain momentum heading into the project as the RIAA announced on Thursday (March 27) that Durk earned another 53 certifications.

“With 53 new RIAA certifications, @lildurk has cemented himself with the most Hip-Hop certifications in 2025 and secured a place among the top 50 artists of all time with 52.5 million units,” the RIAA wrote to X.

Durk’s team gave fans a look into his creative process with the release of a Deep Thoughts mini documentary, which showcased the rapper’s journey crafting the process as well as the communication with his team from behind bars.

“It’s gonna be more than just is a song good or great? You gotta be like, ‘Boy, the album is nominated for a Grammy.’ We gotta start thinking in that box and get out the little box of thinking,” Durk says to open the doc. “This s–t deeper than that. This s–t really Deep Thoughts.”

Lil Durk was arrested in October 2024 on federal murder-for-hire charges. Prosecutors allege Durk’s involvement in a 2022 shooting targeting rapper Quando Rondo, which ended up killing another individual. He faces trial in October 2025.

Stream Deep Thoughts below.

Time to enjoy some Brighter Days Ahead. Ariana Grande unveiled the highly anticipated deluxe edition of her Billboard 200 chart-topping album, Eternal Sunshine, on Friday (March 28).

The extended edition of the original 13-song project features six new tracks, including “Twilight Zone,” “Warm,” “Dandelion,” “Past Life,” “Hampstead” and “Intro (End of the World) Extended,” a longer version of the emotional opening track on the original LP.

To celebrate the new arrival, Grande revived her role as Peaches from the Eternal Sunshine of the Spotless Mind-inspired “We Can’t Be Friends” music video for the Christian Breslaue-directed Brighter Days short film.

Eternal Sunshine originally dropped almost exactly a year ago, in March 2024, and subsequently spent two weeks at No. 1 on the Billboard 200. The project also spawned two No. 1 singles on the Billboard Hot 100: lead single “Yes, And?” and “We Can’t Be Friends (Wait for Your Love).” The album’s standard release was then followed by a “Slightly Deluxe” version of the album, with four additional tracks: “Yes, And?” with Mariah Carey, “Supernatural” with Troye Sivan, an acoustic recording of “Imperfect for You” and an a capella version of “True Story.”

Since the album’s release, it’s been a busy year for Grande, who successfully forayed into the film world when she took on the role of Glinda the Good Witch in Jon M. Chu’s film adaptation of Wicked. Grande was also nominated for best supporting actress at the 2025 Oscars.

Stream Ariana Grande’s Brighter Days Ahead edition of Eternal Sunshine below.

Bachman-Turner Overdrive is takin’ care of business again with “60 Years Ago,” the Canadian stalwart’s first new material in more than 25 years. And there’s more where that came from.

The sentimental single, releasing formally on Friday, March 28, was first written by Randy Bachman and his son Tal during their pandemic YouTube show Bachman & Bachman Friday Night Train Wreck and is part of a father-son album that has not yet been released. But after hearing that a highway section in Randy Bachman’s native Winnipeg was to be renamed the Bachman-Turner Overpass – with the dedication on April 18, the day before BTO plays there – inspired the Bachmans to revise the song and make the song public.

“I thought, ‘I’ll go and get “60 Years Ago,” and I’ll give it back to Winnipeg as a thank-you,’” Randy Bachman tells Billboard via Zoom from his current home in Victoria, B.C.. “There was no great plan for this song, y’know. But maybe they’ll play it on Winnipeg radio, and if you live in Winnipeg maybe you’ll want to download it and drive around singing ’60 years ago, so damn cold, so much snow’ and that kind of stuff. And I have a million BTO fans, followers on Instagram and my web site, so maybe some of them will download it. 

“I have a lot of people asking me, always, ‘Is there anything new? Is there anything new?’ So now… yes, there is.”

With its remembrances of the Winnipeg music scene of the mid-’60s, Bachman further torqued up “60 Years Ago” with some appropriate guests – childhood friend and fellow Winnipegian Neil Young, whose guitar solo can be heard at the end, and BTO co-founder Fred Turner who, despite spates of bad health, contributed vocals to the song. Both men are name-checked in the lyrics, along with Bachman’s Guess Who partner Burton Cummings and, as Bachman notes, Winnipeg’s frigid climate.

“I sent it to Neil Young and said, ‘Here’s a song about us and Winnipeg,’” Bachman says. “And he said, ‘I love this. I’ll scream something and play my solo at the end of the track.’ So we did that.” Turner’s part took a bit more doing, however.

“Fred Turner has suffered a lot in the last three years, from Covid, from his own illness. He lost his wife, that was depressing. He lost his voice,” Bachman explains. “When I sent him [the song] I said, ‘Just put this on your computer… put on headphones and sing to it. I just want your voice, Fred.’ He said, ‘I haven’t sang in two and a half years, but I gave it a shot. But I lost my voice in the second verse.’ But because of digital (technology) now you can get a little, tiny sound and make it big, so we managed to get a great vocal on him throughout the song.

“This wasn’t planned to be a single targeting the charts or anything like that. If we have success with this, it’ll be stunning. But people who hear it are saying to me, ‘You’ve done a great thing here. It sounds like BTO in 1976,’ which is great. The new [Rolling] Stones album doesn’t sound like the Stones, right? But this sounds like BTO.”

“60 Years Ago” comes as BTO prepares to hit the road for an extensive Canadian tour that kicks off an extensive, 22-date tour of Canada, followed by summer dates in the U.S., both on its own and with the Marshall Tucker Band,  Jefferson Starship and the Outlaws. Bachman is also preparing a BTO live album from 1976 shows at the Budokan in Tokyo for release, and he’s hoping that Takin’ Care of Business, a documentary about finding his stolen Gretsch 6120 guitar while in the midst of a serious cancer battle a couple of years back will see wider release after running on the film festival circuit. 

Bachman says more new BTO songs may be in the offing as well, including one called “Rock ‘n’ Roll is the Only Way Out.”

“Rock ‘n’ roll is the only way out of rap and all this crazy pop stuff that’s going on,” Bachman says, “and all this weird country stuff…everybody’s trying to get on the country bandwagon because they still sell CDs.” He’s also collaborating with Turner on other new songs.

“When we were doing [’60 Years Ago’] I said, ‘Have you got any songs, Fred? People are asking for new BTO,’” Bachman recalls. “And he says, ‘Yeah, here’s a couple of old songs. You want to do something new with ’em?’ All he’s got are little cassette tapes, but with AI I can lift off his vocal and get them reformatted and rewrite them and do this and that. I just get a BPM, tick-tick-tick and match his vocal to it. I play guitar. My son Tal plays guitar, drums, bass, flutes, everything. Then we’ll send it back to Fred and get him to sing once it’s a good demo and we’ve got the new groove and new feel. So I am working on new BTO stuff, which is amazing.”

Bachman is also looking forward to a return to the Guess Who now that he and Cummings have successfully wrested control of the trademarks and copyrights from former bandmates Jim Kale and Gary Peterson, who operated the band with other musicians – which Bachman calls “the clones” – until last July. The guitarist says he and Cummings – who have toured together since Bachman’s 1970 departure, including under the Guess Who moniker during the early 2000s – plan to be on the road together during 2026 playing the band’s material along with BTO and Cummings’ solo hits. 

“We’re gonna really have an incredible show, about two hours,” Bachman says. “It’ll be a celebration of the Guess Who. The fans have been wanting it. We’ve already got offers for gigs – really big gigs, really good money. We’re just dealing with them all and working out who’s gonna be in the band – but definitely me and Burton. It’s like Joe Perry and Steven Tyler; you get a rhythm section, and as long as you have those two, you still get Aerosmith. With me and Burton, it’s still the Guess Who.”

BTO’s upcoming tour dates include:

Canada 2025 Tour Dates

April 1 – Save On Foods Memorial Centre, Victoria, BC
April 3 – Abbotsford Centre, Abbotsford, BC
April 4 – South Okanagan Event Centre, Penticton, BC
April 6 – Western Financial Place, Cranbrook, BC
April 8 – CN Centre, Prince George, BC
April 9 – Bonnetts Energy Centre, Grand Prairie, AB
April 11 – Event Centre at Grey Eagle Casino, Calgary, AB
April 12 – Event Centre at Grey Eagle Casino, Calgary, AB
April 13 – VisitLethbridge.com Arena, Lethbridge, AB
April 15 – Brandt Centre, Regina, SK
April 17 – Westoba Place at Keystone Centre, Brandon, MB
April 19 – Canada Life Centre, Winnipeg, MB
April 24 – The Aud (Kitchener Memorial Auditorium), Kitchener, ON
April 26 – Great Canadian Resort Toronto, Toronto, ON
April 28 – Meridian Centre, St. Catharines, ON
April 29 – Peterborough Memorial Centre, Peterborough, ON
May 1 – Canada Life Place, London, ON
May 2 – The Arena at TD Place, Ottawa, ON
May 4 – Sudbury Arena, Sudbury, ON
May 5 – Place Bell, Laval, QC
May 7 – TD Station, Saint John, NB
May 8 – Scotiabank Centre, Halifax, NS

US Tour Dates with The Marshall Tucker Band and Jefferson Starship

July 18 – Harrah’s Stir Cove, Council Bluffs, IA
July 19 – Treasure Island Casino, Welch, MN
July 20 – Scheels Arena, Fargo, ND
July 22 – Kresge Auditorium, Interlochen, MI
July 24 – Neuroscience Group Field, Appleton, WI
July 25 – The Mill Terre Haute, Terre Haute, IN
July 26 – Rose Music Center, Huber Heights, OH
Aug. 1 – Lucky Star Casino, El Reno, OK#

# Outlaws replacing Jefferson Starship as special guest

US Tour Dates – BTO only

July 28 – Bloomington Center For The Performing Art, Bloomington, IL
July 29 – The Village Green at the Charles Zettek Municipal Complex, Elk Grove Village, IL
July 31 – MU Health Care Capital Region Amphitheater, Jefferson City, MO
Aug. 15 – Peppermill Casino, Wendover, NV
Aug. 16 – Vilar PAC, Beaver Creek, CO
Aug. 18 – Western Idaho Fair, Boise, ID
Aug. 21 – Pala Casino, Pala, CA
Aug. 22 – We-Ko-Pa Casino, Ft. McDowell, AZ

A little over a year ago, Ariana Grande made the pop world a little bit lighter with the release of Eternal Sunshine, her seventh studio album.

Crafted in the afterglow of her divorce from realtor Dalton Gomez during the 2023 SAG-AFTRA strikes that paused Wicked production, Eternal Sunshine arrived atop the Billboard 200 (her sixth set to reach the summit), launching a pair of Hot 100 No. 1 hits in “We Can’t Be Friends (Wait for Your Love)” and “Yes, And?” In the time since the album’s release, Grande picked up three Grammy nods for the LP and its singles, including the Brandy and Monica-assisted rework of “The Boy Is Mine,” released live renditions of nearly half the record and began teasing a short film inspired by the Peaches storyline that began with the “We Can’t Be Friends” music video.

Of course, about midway through 2024, Grande shifted her focus to all things G(a)linda. Alongside Cynthia Erivo as Elphaba Thropp, Grande and the Wicked cast racked up over $744 million at the global box office and 10 Academy Award nominations, ultimately winning best costume design and best production design. For her performance in the Jon M. Chu-helmed film adaptation of the iconic Broadway musical, Grande earned her first Oscar nod for best supporting actress; at the March 2 ceremony, she and Erivo opened the show with a medley of Oz classics, including “Somewhere Over the Rainbow” (from The Wizard of Oz), “Home” (from The Wiz) and “Defying Gravity” (from Wicked).

On March 12 — just ten days after the Oscars — Grande announced the Brighter Days Ahead short film to accompany the final deluxe version of Eternal Sunshine. She already released a “slightly deluxe” version of the album a few weeks after the standard set dropped, but this new edition features six new solo tracks, including an extended version of “Intro (End of the World).”

Grande has spent most of March teasing both the new songs and the short film via her Brighter Days hotline (934-33-ERASE), teaser trailers, and cryptic social media posts. Co-directed by Grande (in her directorial debut) and Christian Breslauer, Brighter Days Ahead draws inspiration from 2004’s Oscar-winning Eternal Sunshine of the Spotless Mind and features parts of several Eternal Sunshine tracks. The film follows Grande’s Peaches character as she explores the memories she erased in the “We Can’t Be Friends” music video.

Just like she gave the world new music in the lead-up to Wicked, Grande has dropped off some more musical goodies ahead of Wicked: For Good, which hits theatres later this fall (Nov. 21).

Here’s every new Eternal Sunshine: Brighter Days Ahead track ranked.

Los Angeles-based alt-pop duo Magdalena Bay have paid tribute to David Bowie for their recent appearance on Like a Version, the long-running segment from Australian radio station triple j

Premiering on the morning of Friday, March 28 (Australian time), the pair – which comprises Mica Tenenbaum and Matthew Lewin – recorded their performance during a recent trip to Australia in early March. The two-song set saw them performing original track “Image” before focusing on Bowie’s 1980 single “Ashes to Ashes.”

First released as the lead single to Bowie’s 1980 album Scary Monsters (and Super Creeps), the single did not impact the Hot 100, though it gave Bowie his first U.K. chart-topper since 1969’s “Space Oddity.” The album, meanwhile, peaked at No. 12 on the Billboard 200 and was Bowie’s first in six years to top the chart in his home country.

“It’s a great, kind of weird experimental pop song that I think we took a lot of inspiration from,” said Lewin in a post-performance interview. ”We’re always just kind of listening to it, it’s never really left our rotation of songs that we love,” added Tenenbaum.

“I drew a lot of influence from his ideas of being an artist and what it means to create art,” continued Tenenbaum. “I found [it] very inspiring as we were going into the creation of our latest album, Imaginal Disk

“It’s tough, because when you love a song so much and you know what you love about it and then you also want make it your own a little bit, it’s like, ‘How much should you really mess with it?’”

Magdalena Bay’s cover was indeed preceded by a cut from latest album, Imaginal Disk, with second single “Image” also performed in the Like a Version studio. The track was voted in at No. 147 in triple j’s annual Hottest 100 countdown, and in December 2024 was chosen by Billboard staff as one of the 20 Pop Songs From 2024 That Deserved to Be Smashes.

Having first launched in 2004, the Like a Version series has gone from being a near-impromptu acoustic affair to featuring larger studio productions. Numerous artists have taken part over the past two decades, with the likes of Billie Eilish, Childish Gambino, Arctic Monkeys, and more reinventing classic tracks in the process.

The original Broadway cast recording of Maybe Happy Ending – led by Emmy Award and Golden Globe-winner Darren Criss and Helen J Shen – scores the year’s highest debut on Billboard’s Cast Albums chart, as the set enters at No. 5 on the list dated March 29.

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Maybe Happy Ending was released on March 14 via streaming services and to purchase as a digital download album, while its CD release is slated for May 16 and a vinyl release is due on June 13. Will Aronson and Hue Park wrote the show’s book, music and lyrics, while the album was produced by Deborah Abramson, Ian Kagey and Aronson.

Maybe Happy Ending began its life on stage in Seoul, South Korea in 2016 and was later produced in Japan and China as well. It opened on Broadway at New York’s Belasco Theatre on Nov. 12, 2024, starring Criss and Shen as obsolete Helperbot robots who meet cute and fall in love. The show has drawn rave reviews, with The New York Times calling it “supersmart” and “astonishing,” Entertainment Weekly said the musical “dazzles with its love story and astounds with its visual accomplishments,” and USA Today said it was “wildly inventive and profoundly moving.”

Shen makes their Broadway debut in Maybe Happy Ending, while this is the fourth Broadway show for Criss – but his first originating a role in a musical production. He previously appeared on Broadway in the revival of the play American Buffalo (in 2022) and as a replacement in the revivals of the musicals Hedwig and the Angry Inch (2015) and How to Succeed In Business Without Really Trying (2012).

Billboard’s Cast Albums chart ranks the most popular cast recordings of the week in the United States, based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. The March 29 chart reflects the tracking week ending March 20. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.

Maybe Happy Ending Album Cover

The inaugural Femmy Awards kicked off in high style and spirit Thursday (March 27) in Miami.

Happening amid the many (many) events of Miami Music Week, the awards were put on by Femme House, the nonprofit founded by LP Giobbi and Lauren Spalding that works to create and celebrate equity in the music industry by amplifying voices of women, femme, gender-expansive LGBTQIA+ and BIPOC creators.

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The afternoon ceremony took place on the waterfront patio at Palm Tree Club, the hotel opened by Kygo and his manager and Myles Shear this past December. In the sunshine and bay breezes, LP and Spaulding presented a variety of awards honoring artists, party brands, festivals, execs and other members across the dance music industry.

The event started with moving speeches by Barbara Tucker and Crystal Waters, who were honored with the Voice of House award for the prolific contributions they’ve made to the genre over the years. So too were DJ Minx and DJ Lady D each honored with the Pioneer Award for their everything they’ve each done to break barriers, reshape the dance and electronic music industries and pave the way for femme, non-binary, and LGBTQ+ artists.

The event also presented awards to a flurry of other artists, with Kaleena Zanders and Aluna Francis winning for best live performance, Coco & Breezy winning the Carolyn Horn Trailblazer Award (named for LP Giobbi’s longtime piano teacher who passed away in 2023), TSHA winning for best producer, Xandra being honored with the Rising Star Award and Sara Landry getting the award for producer of the year.

The ceremony also honored a number of executives, with WME’s head of electronic music Stefanie LaFera getting the Theresa Velasquez Award for Outstanding Executive award and WME’s Bailey Greenwood winning for agent of the year. Billboard was the official media sponsor of the event.

See the complete winners list below.

2025 Ally Award: Le Chev
2025 Breakthrough Artist: Alleycvt
2025 Most Diverse Festival: Lightning in a Bottle
2025 Theresa Velasquez Award for Outstanding Executive: Stephanie LaFera
2025 Ableton Instructor of the Year: Mini Bear
2025 Pass the Mic Media Award: DJ Mag
2025 Pass the Mic Media Award: Billboard
2025 Carolyn Horn Trailblazer Award: Coco & Breezy
2025 Femme House Community Member of the Year: Shak Jackson
2025 Best Live Performance: Kaleena Zanders + Aluna Francis @ Planet Pride

2025 Best Radio Mix: DJ Holographic
2025 Album of the Year: Sofi Tukker, Bread
2025 Best Sound Designer: Tokimonsta
2025 Best Producer: TSHA
2025 Best Vocalist: Kaleena Zanders
2025 Best Engineer: Jayda Love
2025 Best Mixer: Laura Sisk
2025 Sonic Innovator Award: FKA Twigs
2025 Best Visual Experience: The Blessed Madonna
2025 Best Visual Experience: Nora En Pure
2025 Activist & Impact Award: She Is the Music
2025 Culture Shifter Award: Ronny Ho
2025 Best Music Journalist: Katie Bain
2025 Best Record Label: HE.SHE.THEY.
2025 Manager of the Year: Julia Fugazy
2025 Agent of the Year: Bailey Greenwood
2025 Hospitality Visionary Award: Carly Van Sickle
2025 Talent Booker: Heather Church
2025 Best Club: Elsewhere
2025 Icon Award: Honey Dijon
2025 Song of the Year: Desiree, “Khuluma Nami”
2025 Creative Director of the Year: Sophie Muller
2025 Best Underground Promoter: Girls Room
2025 For the Culture Award: Interna$hional Bounce
2025 Voice of House Honoree: Barbara Tucker
2025 Voice of House Honoree: Crystal Waters
2025 Rising Star Honoree: Xandra
2025 Producer of the Year Honoree: Sara Landry
2025 Pioneer Award Honoree: DJ Lady D
2025 Pioneer Award Honoree: Minx