Though economic uncertainty lingers, some music companies’ stocks got boosts following their first quarter earnings releases this week, while a better-than-expected jobs report on Friday (May 2) lifted stocks across the board. 

K-pop companies were among the top performers of the week. Led by HYBE’s 13.8% gain following its first quarter earnings report on Tuesday (April 29), the four South Korean companies had an average share price gain of 10.3%. JYP Entertainment rose 11.7% and SM Entertainment, which announces earnings on Wednesday (May 7), improved 9.0%. YG Entertainment gained 6.6%. 

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The 20-company Billboard Global Music Index (BGMI) rose 3.6% to 2,690.13, its fourth consecutive weekly improvement. At 2,690.13, the BGMI has improved 19.1% since a two-week slide and stands just 2.4% below its all-time high of 2,755.53 set during the week ended Feb. 14.

Music stocks slightly outperformed the Nasdaq and S&P 500, which rose 3.4% and 3.1%, respectively. Foreign markets were mostly positive but more subdued. The U.K.’s FTSE 100 rose 2.2%. South Korea’s KOSPI composite index gained 0.5%. China’s SSE Composite Index lost 0.5%. 

Universal Music Group (UMG) gained 4.3% to 25.86 euros ($29.23) following a quarterly earnings report showing that recorded music subscription revenue grew 11.5% and overall revenue improved 11.8%. JP Morgan analysts’ conviction on UMG “remains very high,” and the strong quarter “should help rebuild confidence and share price momentum” dented by Pershing Square’s sale of $1.5 billion in UMG shares, analysts wrote in an investor note on Tuesday.

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Spotify finished the week up 3.7% to $643.73 despite its shares dropping 3.4% on Tuesday after the company’s first-quarter earnings report included guidance on second-quarter subscription additions that seemed to underwhelm investors. Gross margin of 31.6% beat Spotify’s 31.5% guidance. Loop Capital raised Spotify to $550 from $435, while Barclays lowered it to $650 from $710. UBS maintained its $680 price target and “buy” rating. Guggenheim maintained its “buy” rating and $675 price target. 

Live Nation, which reported first quarter earnings on Thursday (May 1) and predicted a “historic” 2025, gained 2.3% on Friday and finished the week up 0.7%. A slew of analysts updated their price targets on Friday. Two were upward revisions: Jefferies (from $150 to $160) and Wolfe Research (from $158 to $160). Two were downward revisions: Rosenblatt (from $174 to $170) and JP Morgan (from $165 to $170). 

Nearly all streaming stocks posted gains. LiveOne was the week’s top performer, jumping 18.0% to $0.72. Chinese music streaming companies Cloud Music and Tencent Music Entertainment gained 11.6% and 7.1%, respectively. French music streamer Deezer gained 1.4% to 1.44 euros ($1.63) after the company’s first-quarter earnings on Tuesday. Abu Dhabi-based Anghami fell 3.1% to $0.62.  

Cumulus Media fell 33.% to $0.14. Most of the decline came on Friday as the stock ceased trading on the Nasdaq and began trading over the counter. 

Billboard Market Share
Billboard Market Share
Billboard Market Share

FIFTY FIFTY released their newest EP, ‘Day & Night,’ and the group shares the inspiration behind the concept album, how they created the music video for “POOKIE” and more!

What do you think of FIFTY FIFTY’s ‘Day & Night?’ Let us know in the comments!

FIFTY FIFTY:

For ‘Day & Night,’ our album ‘Day & Night’ is something… It’s definitely something new that we wanted to show everybody. It has a bunch of different genres incorporated in it. There’s three songs, it’s a total of six songs, but three of those songs kind of go with the day concept and three of those songs go with the night concept, so it’s an album you can listen to all day round that goes with any time of day. There’s a song for any moment. When we recorded “POOKIE,” we really focused on bringing out the cute lyrics and the bouncy rhythm. I personally really liked the rap parts, and during recording, those parts really stood out to me. Well, since we’re one team, there’s a part in the song where we all go ‘da-da-da-da’ together. We really captured our chemistry in that moment, and expressions looked genuinely happy- so it became the most memorable music video shoot for me. The hardest part- well, not really hard, but since we had to bring “POOKIE” to life, we needed to make cute while we were monitoring each other and giving feedback like “this part looks good,” or”that one works better,” I think our team really stood out in that process. Honestly, instead of any real difficulties, what I remember more is the effort we put into everything. For me, if you listen to the song it’s very rhythmical, very exciting and just like a happy, vibey song. 

Keep watching for more!  

Mase is considering making an appearance at Diddy‘s upcoming trial.

The former Bad Boy artist opened a recent episode of his sports talk show It Is What It Is by asking viewers to vote on whether he should pull up or not. “I wanna put it out to the fans,” he said. “I’ll let the fans vote on it — unless you wanna vote on it, Killa. They’re asking me to come to the Diddy trial, You think I should go this week?”

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His co-host Cam’ron then sarcastically answered, “It’s up to you, I don’t know your relationship. What is y’all relationship?” Mase then revealed that he had some folks reach out to him to see whether he was going and that he was actually being serious about his question. “Nah, just a few people reached out to me to ask me was I going. I was trying to figure out a way I could go at least a day,” he said to Cam, who then asked why Mase didn’t go to the 2023 MTV Video Music Awards where Diddy received the Global Icon Award.

“Why you ain’t go to the MTV lifetime achievement award when he won that?” Cam asked as everybody in the studio burst into laughter. “Because I see his son performing all y’all’s parts on the song. Why you didn’t go to that?”

Mase then asked Cam why he just couldn’t answer the question. “What’s the question? If I’m going? I’ll go with you if you’re going. Yeah, I’mma go with you,” he answered. “Just me randomly going? Nah, I ain’t going by myself.”

The topic then went back to the MTV VMAs after their co-host Treasure “Stat Baby” Wilson said it was a funny question. “How do you feel about that? Now that I think about when somebody else wear they hat to the back, dress like you, and start spinning around on stage,” Killa asked, to which Murda answered, “I think it’s flattering. I think it’s a good thing.”

Diddy’s trial is set to begin on Monday, May 5.

You can check out the full episode below.

Even as he’s signed to one of Nashville’s biggest labels, Eric Church has amassed more than a little experience over the past nearly two decades in pushing back against the typical Music Row way of doing things, and thus, bursting the confines of how and when artists are expected to create and release albums, approach touring and build a fanbase.

Early in his career, Church was already stacking his albums with songs such as “These Boots” and “Sinners Like Me” that became fan-favorites, regardless of whether they became radio hits. Albums including Sinners Like Me and Carolina spawned hits that broke ever-higher through the ranks on Billboard‘s Country Airplay chart, and by third album Chief, he earned a double-header of Country Airplay No. 1s with “Drink in My Hand” and “Springsteen.” He’s also been quick to pivot when needed to bring music to his fans the way he wants — like after he was let go from an opening slot on Rascal Flatts’ tour in 2006, when he booked a series of club shows in the same cities, on the same nights as the Flatts tour would play, and dubbed it the “Me and Myself Tour.”

Not content with the status quo, he’s shaken things up with songs such as the marijuana-centered “Smoke a Little Smoke,” and music videos for “Lightning” and “Homeboy” that were filmed the former Tennessee State Prison. He took his 2015 album Mr. Understood directly to fans first, with a surprise release to members of his fanclub. And more recently, he’s displayed his artistic freedom onstage at freewheeling residencies and/or shows at the Country Music Hall of Fame and Museum, as well as at own Chief’s bar in downtown Nashville, and during festivals such as CMA Fest and Stagecoach.

So, it’s no surprise that many songs on Evangeline Vs. The Machine album, out today (May 2), center on the power of music as a healer, encourager, energy lifter, emotional solace and infinite creative source. However, the muses behind the steely-eyed defiance that vibrates through the album run far deeper and wider than the Nashville industry’s machinations. Inspired by the collaborative approach of New Orleans jazz, Church approached the new album with the all-encompassing, spontaneous nature of a live show, teaming again with producer Jay Joyce and bolstering his core blend of country, rock and soul with a choir, horns and full-bodied strings.

What his succinct, eight-song album lacks in length, it more than makes up for in depth of creativity and intention, with songs that stretch well beyond country music’s typical lyrical trifecta of relationships, trucks and alcohol. Evangeline Vs. The Machine finds Church writing and recording songs inspired by his own discomfort with being creatively bound, as well as by the natural disaster of Hurricane Helene and by the tragedy of the Covenant School shooting that took place in 2023.

Here, Billboard ranks the eight songs on his new project.

Australian music festival Spilt Milk has returned from a fallow year with what is shaping up to be one of the country’s biggest touring events in 2025.

Confirming its 2025 lineup on Friday (May 2), the Spilt Milk festival has announced that the four-date affair will be headlined by Kendrick Lamar and Doechii, with Sara Landry, Dominic Fike, and Schoolboy Q rounding out the topline. While Lamar’s appearance will be his first Australian visit since 2022, and the other headliners have previously performed on Australian soil, Doechii will make her debut visit to the country as part of the festival.

D4vd, Nessa Barrett, and Sombr also join Australian producer Skin on Skin as second-tier additions, while international names such as Rebeca Black and Chance Peña join local acts The Dreggs, The Rions, Ninajirachi, and more.

Lamar’s high-profile addition to the festival is something of a coup for the event, which first launched in 2016 as a one-day affair in the country’s capital, Canberra.

After three years of events, the festival expanded to the Gold Coast and regional Victorian city Ballarat in 2019, with the likes of CHVRCHES, Khalid, and Juice WRLD appearing on the lineup. The Ballarat edition of Spilt Milk would also serve as Juice WRLD’s final performance before his passing just one week later.

The festival returned from a COVID-induced hiatus in 2022, though announced they would be taking another year off in 2024. “Sorry pookies, we couldn’t get you the Spilt Milk you deserve this year,” event organizers wrote in July. “Sooo imma dip for a bit and come back when I can make all ur dreams come true.”

At the time, concerns were raised for the future of Spilt Milk given the cancellation of other high-profile festivals such as Splendour in the Grass, though organizers confirmed on May 1 that it would return in December 2025. The four-date affair will take place across Ballarat, Perth, Canberra, and the Gold Coast between December 6-14.

Jack Antonoff was named ASCAP Pop Music Songwriter of the Year at a private event at the Petersen Automotive Museum in Los Angeles on Thursday (May 1). The hitmaker co-wrote six of ASCAP’s most-performed songs of the past year: Sabrina Carpenter’s “Please Please Please” and no fewer than five songs by Taylor Swift: “Anti-Hero,” “Fortnight,” “I Can Do It with a Broken Heart,” “Is It Over Now? (Taylor’s Version) (From the Vault)” and “Karma.”

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Antonoff, 41, has won 11 Grammys, including two in songwriting categories: song of the year for “We Are Young” (which he co-wrote with his fun. bandmates and Jeff Bhasker) and best rock song for “Masseduction” (which he co-wrote with Annie Clark, a.k.a. St. Vincent). He won best song musically and lyrically at the 2023 Ivor Novello Awards for “King” (which he co-wrote with Florence Welch of Florence + the Machine).

Teddy Swims’ breakthrough hit “Lose Control” is the ASCAP Pop Music Song of the Year. Co-written by ASCAP songwriter Joshua “Ammo” Coleman, it set a new record for the longest run song in the top 10 of the Billboard Hot 100 (59 weeks, as of this week). The smash is published by Kobalt Music and Top Notch High Quality Music.

ASCAP Pop Music Publisher of the Year goes to Sony Music Publishing. Among their list of honored works are “A Bar Song (Tipsy)” (Shaboozey), “Hot to Go!” (Chappell Roan), “Houdini” (Dua Lipa), “Not Like Us” (Kendrick Lamar), “Stick Season” (Noah Kahan) and “Texas Hold ‘Em” (Beyoncé).

ASCAP Pop Music Award-winning songwriters this year also include Amy Allen, Beyoncé, Chappell Roan, Dan Nigro, Dua Lipa, Justin Timberlake, Justin Tranter, Noah Kahan, Olivia Rodrigo, Shaboozey and Victoria Monét.

The ASCAP Pop Music Awards honor the songwriters and publishers of the most-performed ASCAP pop songs of 2024. The winning songs are determined by data for terrestrial and satellite radio and for programmed and on-demand audio streams, all provided by Luminate Data LLC.

More information on the 2025 ASCAP Pop Music Award winners is available at www.ascap.com/popawards25.

Seems like Mary J. Blige has given Travis Scott‘s new snippet from Jackboys 2 — which mentions her — her stamp of approval.

In the two-and-a-half-minute, Harmony Korine-directed trailer that Scott posted on his socials Wednesday night, he raps, “I blige bumping Mary.”

“I see what he did there,” the Queen of Hip-Hop Soul wrote on X with laughing and smiling emojis.

Scott has been steadily teasing the Jackboys 2 compilation project over the last month, hinting that he could drop it on his 34th birthday on Wednesday (which didn’t happen). The Cactus Jack boss linked up with his signee Sheck Wes on “ILMB” last month, but it hasn’t been confirmed if the single will appear on the upcoming album. He also previewed a pair of unreleased songs during his headlining Coachella set (Goldenvoice was fined $20,000 by the City of Indio because he went three minutes past the 1 a.m. curfew).

Scott updated his online store with a digital Jackboys 2 pre-order, CDs with alternative covers, vinyl and various box sets.

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The first Jackboys compilation album was released in December 2019, featuring the label’s stars Wes and Don Toliver as well as collaborations with Rosalía and Lil Baby on the remix of his Billboard Hot 100 No. 1 hit “Highest in the Room,” Quavo and Offset on “Had Enough,” Young Thug on “Out West,” and the late Pop Smoke on “Gatti.” Jackboys debuted at No. 1 on the Billboard 200 at the top of 2020 and also topped Top R&B/Hip-Hop Albums.

Jill Sobule, the acclaimed folk-pop singer and human rights activist, died in a reported house fire in Woodbury, Minnesota, on Thursday (May 1). She was 66 years old.

The groundbreaking artist, who identified as bisexual, began her career with her 1990 debut album Things Here Are Different. The set sparked her first appearance on Billboard‘s charts as its single “Too Cool to Fall in Love” hit No. 17 on Adult Contemporary. Five years later, she broke out with her self-titled 1995 album and its hit single “I Kissed a Girl,” which peaked at No. 67 on the Billboard Hot 100 and reached the top 20 of the Alternative Airplay chart (then known as Modern Rock Tracks). Meanwhile, the LP’s other big single, “Supermodel,” was included on the soundtrack to Clueless.

Sobule’s “I Kissed a Girl” was released 13 years before Katy Perry’s different song with the same title became a No. 1 smash in 2008.

Other albums in Sobule’s discography include 1997’s Happy Town, 2000’s Pink Pearl, 2004’s The Folk Years 2003-2003 and Underdog Victorious, 2008’s Jill Sobule Sings Prozac and the Platypus, 2014’s Dottie’s Charms and 2018’s Nostalgia Kills. The singer-songwriter was an early proponent of crowdfunding, with her 2009 album California Years entirely financed via donations from fans.

Sobule’s most recent project prior to her death was her autobiographical musical F*ck 7th Grade, which earned a Drama Desk Award nomination for outstanding musical in 2023 and is set to release an original cast recording on June 6 alongside a special 30th-anniversary vinyl reissue of Jill Sobule.

“Jill Sobule was a force of nature and human rights advocate whose music is woven into our culture…I lost a client and a friend today,” the singer’s manager, John Porter, shared in a statement. “I hope her music, memory and legacy continue to live on and inspire others.”

According to a release, a formal memorial honoring Sobule’s life and legacy will be planned for later this summer.

Benson Boone broke out his signature backflip on Thursday (May 1) to promote his upcoming appearance on Saturday Night Live.

When the first SNL promo opens, the pop sensation is nowhere to be found, missing his cue after host Quinta Brunson excitedly introduces him as the episode’s musical guest. “Huh, he was supposed to flip into frame,” SNL standout Sarah Sherman points out, leading Brunson to worry, “Yeah, I hope he’s OK.”

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Only after the two women start calling out Boone’s name does the “Beautiful Things” singer tumble onto the screen — backflipping into Studio 8H as Brunson and Sherman let out screams of surprise. (“Hi ladies! Gotcha!” he adds with a grin.)

In a second promo, Brunson keeps a giddy Boone from doing another flip, amusingly muttering, “He be flippin’,” under her breath in the process.

The 2025 best new artist Grammy nominee isn’t the only person launching himself head over heels in the video, either. In the final segment, Sherman volunteers to be the one to try out the gymnastics move with an unworried “I’ll figure it out!” Naturally, this leads to disaster with the comedian sprawled out on the studio floor and unable to move, her limbs contorted in unnatural angles as an on-set medic attends to her (fake) injuries.

Boone’s debut appearance on the long-running sketch series is sure to continue building excitement for his highly anticipated sophomore album, American Heart, which will be released June 20 and feature previously released singles “Sorry I’m Here for Someone Else” and “Mystical Magical.”

The 22-year-old heartthrob’s sure-to-be aerial performance on the stage of Studio 8H also follows his rollicking sets at Coachella last month, which included plenty of backflips and a surprise appearance on weekend 1 of Queen guitarist Brian May for a cover of “Bohemian Rhapsody.”

Watch Boone flip out over his upcoming Saturday Night Live gig below.

When it comes to the prospect of being trapped on a deserted island, Kelly Clarkson would want to be with a fellow American Idol alum.

The hypothetical scenario came up on Thursday’s episode (May 1) of The Kelly Clarkson Show during a round of “Playing Dice With God,” with guests Tina Fey and Will Forte.

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Bathed in the studio’s heavenly light, the American Idol winner’s roll of the dice landed on the “Personal” category, prompting the unseen announcer (i.e. “God”) to ask, “If you had to be stranded on an island with one former famous co-worker, who would you choose and why?”

Without skipping a beat, Clarkson answered, “I’m gonna say — she seems like a fun hang for a while — so I’m gonna say J-Hud. I’m gonna say Jennifer Hudson.”

The two stars never crossed paths on Idol: Clarkson won the inaugural season in 2002, while the future EGOT was shockingly eliminated in seventh place two years later in one of the most controversial voting results in the show’s history. However, they did end up working together — and competing against one another — as coaches on The Voice more than a decade later. (In season 15, Clarkson took home her second consecutive win thanks to Cheval Shepherd’s victory; Team J-Hud’s Kennedy Holmes ultimately came in fourth place.)

Since they spent time in NBC’s famous spinning chairs, Hudson has also joined her Idol predecessor in the daytime-TV trenches by launching her eponymous talk show The Jennifer Hudson Show in 2022.

Watch Clarkson roll the dice on the chances of Hudson being a good beachside buddy below.