Karol G leads the list of finalists for the 2023 Billboard Latin Music Awards, with 21 nods in categories including artist of the year, tour of the ytear, Global 200 Latin artist of the year, and top Latin album of the year for Mañana Será Bonito, Billboard and Telemundo announced Thursday (Sep. 12).

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For the third consecutive year, the Colombian star garners the greatest number of entries for a female artist, after achieving 15 in 2022 and 13 in 2023. Her song “Qlona,” with Mexican star Peso Pluma, competes for six awards — including Hot Latin Song of the year, Global 200 Latin Song of the year and Sales Song of the Year — while her hitMi Ex Tenía Razón” garners two nods, for Latin airplay song of the year and Sales Song of the year.

Following Karol G are Bad Bunny and Peso Pluma with 15 nods each. Bunny competes, among others, for Artist of the Year, Global 200 artist of the year, and tour of the year. His song “Perro Negro” with Feid, including Global 200 Latin song of the year, Hot Latin Song of the Year, and Hot Latin Song of the Year, Vocal Event. His album Nadie Sabe Lo Que Va A Pasar Mañana competes for Top Latin Album of the Year and Latin Rhythm Album of the Year.

Pluma, meanwhile, is up for Artist of the Year, Global 200 Artist of the Year, songwriter of the year, and regional Mexican album of the Year for Éxodo. In addition to his six entries with Karol G for “Qlona,” his hit “Lady Gaga” with Gabito Ballesteros and Junior H competes for two awards: Hot Latin Song of the year, vocal event and Streaming Song of the year.

Feid boasts 11 entries. In addition to the five he achieved for “Perro Negro” with Bad Bunny, he also competes for Global 200 Latin artist of the year, and Latin rhythm album of the year for Ferxxocalipsis.

With eight entries are regional Mexican acts Fuerza Regida and Junior H, both artist of the year finalists. The group also competes, among others, for Hot Latin Song of the year, vocal event for “Harley Quinn” with Marshmello, as well as Top Latin Album of the year and regional Mexican album of the year with Pa Las Baby’s y Belikeada. Junior H is also a Top Latin Album of the year and regional Mexican album of the Year finalist for $adBoyz For Life II.

Other artists with multiple mentions include Xavi (7), Grupo Frontera y Mike Towers (5), Aventura, Gabito Ballesteros, Kali Uchis, y Shakira (4), Cris Mj, Eslabon Armado, FloyyMenor, Julión Alvarez y su Norteño Banda, Marc Anthony, Prince Royce, Rauw Alejandro y Young Miko (3), ATL Jacob, Edgar “Edge” Barrera, Grupo Firme, JOP, Luis Figueroa, Maná, Marshmello, Natanael Cano, Piso 21,  Reik, Venesti and Wisin (2).

The 31st annual Billboard Latin Music Awards will be broadcast on Telemundo on October 20 at 9pm ET from Miami. It will simultaneously be available on the Spanish entertainment cable network Universo, on Peacock and the Telemundo app, and in Latin America and the Caribbean through Telemundo Internacional.

This year’s awards will be presented in 49 categories spanning major Latin music genres, from Latin pop to tropical, and Latin rhythm to regional Mexican.

The Latin Billboard Music Awards are the only ones that recognize the most popular albums, songs and performers in Latin music, according to Billboard‘s weekly charts. Produced by Telemundo and MBS Special Events, they coincide with Billboard Latin Music Week, which returns to Miami Beach Oct. 14-18 with a roster of star speakers including Alejandro Sanz, Gloria Estefan, Danny Ocean, Peso Pluma and many more. Get your tickets today for the Billboard Latin Music Week 2024 here.

See the complete list of finalists below:

OVERALL ARTISTS CATEGORIES

Artist of the Year

Bad Bunny

Fuerza Regida

Junior H

Karol G

Peso Pluma

Artist of the Year, New

Gabito Ballesteros

Oscar Maydon

Tito Double P

Xavi

Young Miko

Tour of the Year

Aventura

Bad Bunny

Karol G

Luis Miguel

RBD

Crossover Artist of the Year

ATL Jacob

Cardi B

Marshmello

Rema

Tiesto

Global 200 Latin Artist of the Year

Bad Bunny

Feid

Karol G

Peso Pluma

Xavi

SONGS CATEGORIES

Global 200 Latin Song of the Year

Bad Bunny & Feid, “Perro Negro”

Feid & ATL Jacob, “Luna”

FloyyMenor & Cris Mj, “Gata Only”

Karol G & Peso Pluma, “Qlona”

Myke Towers, “Lala”

Hot Latin Song of the Year

Bad Bunny, “Monaco”

Bad Bunny & Feid, “Perro Negro”

FloyyMenor & Cris Mj, “Gata Only”

Karol G & Peso Pluma, “Qlona”

Xavi, “La Diabla”

Hot Latin Song of the Year, Vocal Event

Bad Bunny & Feid, “Perro Negro”

FloyyMenor & Cris Mj, “Gata Only”

Fuerza Regida & Marshmello, “Harley Quinn”

Karol G & Peso Pluma, “Qlona”

Peso Pluma, Gabito Ballesteros & Junior H, “Lady Gaga”

Hot Latin Songs Artist of the Year, Male

Bad Bunny

Feid

Junior H

Peso Pluma

Xavi

Hot Latin Songs Artist of the Year, Female

Anitta

Karol G

Kali Uchis

Shakira

Young Miko

Hot Latin Songs Artist of the Year, Duo or Group

Eslabon Armado

Fuerza Regida

Grupo Firme

Grupo Frontera

Julión Álvarez y Su Norteño Banda

Hot Latin Songs Label of the Year

Double P

Interscope Capitol Labels Group

Rimas

Sony Music Latin

Warner Latina

Latin Airplay Song of the Year

Bad Bunny & Feid, “Perro Negro”

Karol G, “Mi Ex Tenía Razón”

Karol G & Peso Pluma, “Qlona”

Myke Towers, “La Falda”

Myke Towers, “Lala”

Latin Airplay Label of the Year

Interscope Capitol Labels Group

Rimas

Sony Music Latin

Universal Music Latin Entertainment

Warner Latina

Sales Song of the Year

Bad Bunny, “Monaco”

Karol G, “Mi Ex Tenía Razón”

Karol G, “Si Antes Te Hubiera Conocido”

Karol G & Peso Pluma, “Qlona”

Xavi, “La Diabla”

Streaming Song of the Year

Bad Bunny & Feid, “Perro Negro”

Calle 24, Chino Pacas & Fuerza Regida, “Qué onda”

Karol G & Peso Pluma, “Qlona”

Peso Pluma, Gabito Ballesteros & Junior H, “Lady Gaga”

Xavi, “La Diabla”

ALBUM CATEGORIES

Top Latin Album of the Year

Bad Bunny, Nadie Sabe Lo Que Va a Pasar Mañana

Fuerza Regida, Pa Las Baby’s y Belikeada

Grupo Frontera, El Comienzo

Junior H, $ad Boyz For Life II

Karol G, Mañana Será Bonito (Bichota Season)

Top Latin Albums Artist of the Year, Male

Bad Bunny

Feid

Junior H

Peso Pluma

Rauw Alejandro

Top Latin Albums Artist of the Year, Female

Becky G

Kali Uchis

Karol G

Shakira

Young Miko

Top Latin Albums Artist of the Year, Duo or Group

Aventura

Eslabon Armado

Fuerza Regida

Grupo Frontera

Grupo Marca Registrada

Top Latin Albums Label of the Year

Double P

Interscope Capitol Labels Group

Rimas

Sony Music Latin

Universal Music Latin Entertainment

LATIN POP CATEGORIES


Latin Pop Artist of the Year, Solo

Enrique Iglesias

Kali Uchis

Luis Fonsi

Sebastián Yatra

Shakira

Latin Pop Artist of the Year, Duo or Group

Camila

La Oreja De Van Gogh

Maná

Piso 21

Reik

Latin Pop Song of the Year

Danny Ocean, “Amor”

Maná & Edén Muñoz, “Amor Clandestino”

Piso 21 & Wisin, “La Misión”

Reik, “Abril”

Venesti, Nacho & Maffio, “No Es Normal”

Latin Pop Airplay Label of the Year

AP Global

Intercope Capitol Label Group

Sony Music Latin

Universal Music Latin Entertainment

Warner Latina

Latin Pop Album of the Year

Chayanne, Bailemos Otra Vez

Jay Wheeler, Música Buena Para Días Malos

Kali Uchis, Orquídeas

Kany García, García

Shakira, Las Mujeres Ya No Lloran

Latin Pop Albums Label of the Year

Columbia

Interscope Capitol Labels Group

Sony Music Latin

Universal Music Latin Entertainment

Warner Latina

TROPICAL CATEGORIES

Tropical Artist of the Year, Solo

Juan Luis Guerra

Luis Figueroa

Marc Anthony

Prince Royce

Romeo Santos

Tropical Artist of the Year, Duo or Group

Aventura

Gente de Zona

Grupo Niche

La Sonora Dinamita

Monchy & Alexandra

Tropical Song of the Year

Luis Figueroa, “Bandido”

Marc Anthony, “Punta Cana”

Myke Towers, “La Capi”

Prince Royce & Gabito Ballesteros, “Cosas de la Peda”

Víctor Manuelle feat. Frankie Ruiz, “Otra Noche Más”

Tropical Airplay Label of the Year

Interscope Capitol Label Group

Magnus

Rimas

Sony Music Latin

Warner Latina

Tropical Album of the Year

Aventura, Generation Next

Camilo, Cuatro

Marc Anthony, Muevense

Prince Royce, Llamada Perdida

Tropical Albums Label of the Year

Discos Fuentes

Sony Music Latin

The Orchard

Universal Music Enterprises

Universal Music Latin Entertainment

REGIONAL MEXICAN CATEGORIES

Regional Mexican Artist of the Year, Solo

Carin León

Ivan Cornejo

Junior H

Natanael Cano

Peso Pluma

Regional Mexican Artist of the Year, Duo or Group

Eslabon Armado

Fuerza Regida

Grupo Firme

Grupo Frontera

Julión Álvarez y Su Norteño Banda

Regional Mexican Song of the Year

Alejandro Fernández, “Difícil Tu Caso”

Banda MS, “Tu Perfume”

Banda El Recodo de Cruz Lizárraga, “Dios Bendiga Nuestro Amor”

Banda Los Recoditos, “Vas a Querer Volver”

Julión Álvarez y Su Norteño Banda, “Buscándole a la Suerte”

Regional Mexican Airplay Label of the Year

Afinarte

Azteca

Grupo Frontera

Sony Music Latin

Universal Music Latin Entertainment

Regional Mexican Album of the Year

Fuerza Regida, Pa Las Baby’s y Belikeada

Grupo Frontera, El Comienzo

Junior H, $ad Boyz For Life II

Natanael Cano, Nata Montana

Peso Pluma, Éxodo

Regional Mexican Albums Label of the Year

Double P Records

Grupo Frontera

Sony Music Latin

Universal Music Latin Entertainment

Warner Latina

LATIN RHYTHM CATEGORIES

Latin Rhythm Artist of the Year, Solo

Bad Bunny

Feid

Karol G

Myke Towers

Rauw Alejandro

Latin Rhythm Artist of the Year, Duo or Group

Baby Rasta & Gringo

Jowell & Randy

Mambo Kingz

Wisin & Yandel

Zion & Lennox

Latin Rhythm Song of the Year

Aaantonio, “El Hotel”

Daddy Yankee, “Bonita”

Natti Natasha, “Ya No Te Extraño”

Venesti, “Umaye”

Wisin & Mora, “Bien Loco”

Latin Rhythm Airplay Label of the Year

Interscope Capitol Labels Group

Rimas

Sony Music Latin

Universal Music Latin Entertainment

Warner Latina

Latin Rhythm Album of the Year

Bad Bunny, Nadie Sabe Lo Que Va a Pasar Mañana

Feid, Ferxxocalipsis

Karol G, Mañana Será Bonito (Bichota Season)

Rauw Alejandro, Playa Saturno

Tainy, Data

Latin Rhythm Albums Label of the Year

Interscope Capitol Labels Group

Neon 16

Rimas

Sony Music Latin

Universal Music Latin Entertainment

WRITERS / PRODUCERS / PUBLISHERS CATEGORIES

Songwriter of the Year

Alexis Armando Fierro Román

Edgar Barrera

JOP

Peso Pluma

Xavi

Publisher of the Year

Double P Publishing, BMI

Prajin Music Publishing, BMI

Street Mob Publishing, BMI

Warner-Tamerlane Publishing Corp, BMI

Universal Music, Inc., ASCAP

Publishing Corporation of the Year

Downtown Music Publishing

Kobalt Music Group

Sony Music Publishing

Universal Music

Warner Chappell Music

Producer of the Year

Edgar Barrera

Ernesto ‘Neto’ Fernández

JOP

MAG

Ovy On The Drums

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Two super middleweight boxers clash in “Sin City” on Saturday (Sept. 14), Mexican boxer Canelo Alvarez (61-2-2) defends his titles against American Edgar “The Chosen One” Berlanga (22-0-0) in a highly-anticipated match. The bout is scheduled for 12 rounds with the winner earning the WBC, WBA and WBO Super Middleweight titles.

Canelo Alvarez vs. Edgar Berlanga takes place at T-Mobile Arena in Las Vegas, Nevada, starting at 8 p.m. ET/5 p.m. PT, with the main event beginning around 11 p.m. ET/8 p.m. PT.

Want to watch the Canelo Alvarez vs. Edgar Berlanga online? This is a pay-per-view event that is streaming on PPV.com for $89.99, so the only way to watch it is to purchase the PPV feed here. Additionally, the match is available on Prime Video for the same PPV price.

Meanwhile, the Alvarez vs. Berlanga PPV price is also streamable for $89.99 for DAZN subscribers. Not a subscriber? You can get access to the PPV livestream with a 7-day free trial (afterward, it’s $29.99 per month). In addition, if you’d like to go for an annual subscription, you can still get the first month for free ($19.99 per month afterwards) for $239.88 per year in total with the service’s 12-month contract.

With DAZN, you get access to more than 100 live fights every year, along with fight replays, highlights, documentaries and much more.

Fight Card, 8 p.m. ET/5 p.m. PT

  • Canelo Alvarez (champion) vs. Edgar Berlanga (WBC, WBA and WBO Super Middleweight) — Main Event, Title Fight
  • Erislandy Lara (champion) vs. Danny Garcia (WBA World Middleweight) — Title Fight
  • Caleb Plant vs. Trevor McCumby (Super Middleweight)
  • Rolando Romero vs. Manuel Jaimes (Super Lightweight)
  • Stephen Fulton vs. Carlos Castro (Featherweight)

Canelo Alvarez vs. Edgar Berlanga PPV is streamable on PPV.com and Prime Video on Saturday, Sept. 14, starting at 8 p.m. ET/5 p.m. PT.

Want more? For more product recommendations, check out our roundups of the best Xbox dealsstudio headphones and Nintendo Switch accessories.

Stop me if you know you’ve heard this one before. Despite the end-times detente between long-battling brothers Noel and Liam Gallagher of Oasis that recently led to their announcement of a 2025 UK tour, some things in the music feud world never change.

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Case in point: the Smiths. The legendary British purveyors of sorrowful rock broke up acrimoniously in 1987, and based on their latest alleged loggerheads it seems certain that they are never, ever getting back together. Not even to re-release their old music, according to lead lamenter Morrissey.

In a post on his official blog on Wednesday (Sept. 11) titled “Smiths Not OK,” the 65-year-old singer claimed that his ex-bandmate and chief nemesis, former Smiths guitarist Johnny Marr, has “blocked” the release of a planned greatest hits compilation. “The proposed greatest hits album by The Smiths entitled Smiths Rule OK! has been blocked by J Marr,” he wrote, in a post featuring a classic pic of the four-man Manchester band and what he said was a new cover image of their 1983 debut single, “Hand in Glove.”

Morrissey said that the single and hits comp were slated for release this year worldwide by Warner Records along with a deluxe box set of the band’s 1984 self-titled debut album, which featured such beloved tales of woeful misery as “Reel Around the Fountain,” “Miserable Lie,” “Still Ill” and “What Difference Does it Make?” The singer said the 40th anniversary edition of the album was to be packaged with a new 7-inch of the single “This Charming Man” as well.

“Warner approached Morrissey and [graphic designer] Darren Evans to assemble artwork for all four releases, all of which were rejected and halted out of hand by J Marr,” Morrissey wrote. At press time it did not appear that band composer Marr — whose iconic jangly, ringing guitar tone was as crucial to the band’s sound as Morrissey’s laconic, sad-eyed vocals and lyrics — had responded to the singer’s claims and a spokesperson for Marr had not returned Billboard‘s request for comment.

During their brief, but highly impactful tenure, The Smiths released just four full-length studio albums, all of which featured songs that have become alt rock landmarks, including “That Joke Isn’t Funny Anymore,” “Meat Is Murder,” “Bigmouth Strikes Again,” “The Boy With the Thorn in His Side,” “There Is a Light That Never Goes Out,” “Girlfriend in a Coma,” “Last Night I Dreamt That Somebody Loved Me” and, of course, “Stop Me If You Think You’ve Heard This One Before.”

Morrissey paid loving tribute to late bassist Andy Rourke — with whom he and Marr had also feuded with over the band’s royalties — in May 2023 after Rourke’s death at 59 from pancreatic cancer. “Sometimes one of the most radical things you can do is to speak clearly. When someone dies, out come the usual blandishments… as if their death is there to be used. I’m not prepared to do this with Andy,” the singer wrote at the time.

Last month, Morrissey posted a note claiming that in June of this year AEG Entertainment made a “lucrative offer” to both Morrissey and Marr to reunite for a Smith’s world tour in 2025, to which he claimed he said yes while Marr “ignored the offer.” In keeping with the sniping acrimony between the former bandmates, the misanthropic singer added that while he “undertakes a largely sold out tour of the USA in November, Marr continues to tour as a special guest to New Order.”

For the record, Marr is slated to kick off a headlining North American tour with opener James on Sept. 17 at the Paramount Theatre in Denver that will run through an Oct. 18 gig at the Palace Theatre in St. Paul, MN.

While the Gallaghers have miraculously managed to set aside their sibling rivalry for a run of shows most fans never thought would happen, the alleged greatest hits snit suggests the animosity between Marr and Morrissey will continue apace after nearly 40 years of public barbs and insults, blocking a much-desired get back from one of the most influential and beloved British indie rock bands of all time.

As Keith Urban describes writing “Break the Chain” — the raw, confessional song about stopping destructive generational patterns that closes his new album, High — he provides tremendous insight into his creative process. 

“I started playing this guitar that [co-writer] Marc Scibilia had in his studio with flat-wound strings and a rubber bridge, and it just made this interesting sound,” he explains. “The opening riff was what I played, and I started singing these words and the song just came out. I had no intention of addressing some of my raising and [having] an alcoholic father.”

Urban himself is, of course, a father of two daughters with wife Nicole Kidman. “I don’t know if my dad, who passed away a long time ago, would be okay with the song or not, but he would love that it’s truthful, and the intent of it is a forward motion of trying to do things different,” he offers. “I guess I’m still working through things that I thought I was long at peace with.”

Urban surprised himself a few times in making his 11th studio set, out Sept. 20 via Capitol Records Nashville, including building the bones of the album from a discarded effort at a concept album he’d named 615. “I attempted to make a very different record, and that didn’t pan out, so I scrapped it and followed my muse and ended up with this album,” he says.

In February 2023, Urban brought in the 615 album to play for his team. “I thought they were going to go, ‘Great job, Keith! Let’s get these singles out, let’s get this tour booked!’ And instead, it was just crickets,” he says. ‘And I was like, “Oh, OK, this is not the record.’ I said to everybody, ‘Let’s push the tour off to 2025 and let me go finish a proper album.’” 

Keith Urban
Keith Urban

Urban, who was given a star on the Hollywood Walk of Fame in June, crafted a very different set — one that stands as the most diverse in his career, with the songs straddling the line from the intensely personal aforementioned “Break the Chain” and “Heart Like a Hometown,” to the good-time, windows-down “Straight Line,” the flirty Lainey Wilson duet “Go Home With U” and the heartbreaking “Messed Up as Me,”  which rises to No. 19 with a bullet on Billboard‘s Country Airplay chart this week.

Billboard caught up with the multiple Grammy winner via phone, as he talked about the album, the state of country radio, why he sold his master recordings — and what he really thinks about the super-sized albums so many artists are releasing these days. Urban, who has earned 20 career Country Airplay No. 1s, kicks off a 10-show residency at the Fountainebleau in Las Vegas Oct. 4.

Why do you think 615 didn’t come together? 

Look, I’ve never had a theme for a record. I think I was trying to do something — and that’s the death of it all. I was trying to do something instead of just letting it unfold. The only songs that felt like they really flowed were “Messed Up as Me,” “Daytona,” “Break the Chain” and “Heart Like a Hometown.”  So, I thought, “I’ll just take those four and build out a new batch of songs around them — because these songs feel right, but they now need their counterpoint songs to make a cohesive album.”

You made a very deliberate effort when sequencing this album to have the tempos change from each song to the next. You did this in a time that people generally don’t listen to albums from start to finish.

I don’t! But sequencing also is my way of figuring out what songs I don’t need on the record. 

Would you like for fans to listen to High all the way through from start to finish? 

I like that it can be played top to bottom and be a good experience. If you want to get in a long car ride, it’s only 40 minutes. But if you just want to put it on and let it go, I hope it gives you a very similar feeling to what it’s like coming and seeing us in concert, if we did a 40- minute set. We’d come barreling out the gate and then we’d go to some other places — but hopefully it would always keep moving in a way in which whatever the very next song is would feel good, from an emotional standpoint and an energy standpoint.

You ultimately landed on 11 tracks, which is short these days! 

I’ve never been a fan of the 25-35 song album. I’m like, “In 2024? Really?” It’s just not my thing. I just wanted to make a strong, concise, cohesive record. And these 11 tracks felt like that to me.

[The super long album] doesn’t do any good in the long run. In some ways, it’s sneaking back to this problem that we had with albums back in the day [where] there was only two good songs on an album with 10 songs on it and the rest was just filler and fans got sick of it. That’s why when iTunes came along and said, “Hey, you can just buy one song,” everyone went, “Hallelujah.” We’ve gone full circle again by doing that sort of manipulating the system with 30 songs. If every one of them is fantastic, great — but they’re not. There’s no way they can be. It’s impossible.

This is your 11th studio album. What do you know about making albums now that you didn’t know earlier? [Urban breaks out into laughter.] Well, maybe given the experience with 615, that’s not a great question. 

It’s moreso a reaffirmation of the way which I prefer to make records, which is a much bigger blend of loose fun and spontaneity. I don’t mean that there isn’t work involved, because obviously there’s huge amounts of work involved. But pretty much every record I’ve ever done has a certain flow about them. The balance that most of my albums have had is a mix of introverted, gravitas moments and musicianship, and then just complete loosey-goose, mindless fun. And balancing those two worlds together has always been the way I prefer to make records. 615 didn’t have the fun factor in there. It was just a bit too earnest. 

There are a lot of songs on here about drinking and drinking to excess, including the totally loosey-goosey “Laughing All the Way to the Drank.” As someone who’s been in recovery for a long time, do you ever have pause about not wanting to send a drinking message? 

None at all. Separate to my recovery journey, I’m exactly the guy I’ve always been in my spirit and my edge and devilishness, whatever you want to call it. All that stuff that happened coming up playing in the clubs in Australia, and then paying my dues here — all of that is still a big part of who I am. And so now I sing those songs from having been in those places.

“Messed Up as Me,” I know exactly who that guy is. “Laughing All the Way to the Drank,” I know exactly who that guy is. But in a lot of these cases, I’m also singing to people in the audience. I see that guy in the audience every night. He doesn’t seem to have a lot, but he seems to be the guy having the best time, and he’s a hard-working dude Monday to Friday. He’s my dad. My dad was up at 6 a.m. and he’d be drinking all the night before. So those songs are all places, people I know. They’re real songs in that regard, every one of them.

Lainey Wilson and you duet on “Go Home With U,” which you co-wrote with your buddy Breland. How did that one come about? 

I wrote this song with Breland, Sam Sumser and Sean Small in 2020. That’s one of the quarantine-type songs where everything was shut down, and we so missed being in a packed club with your friends and music and fun, fun, fun. It was never written as a duet, but then I wanted to find something to do with Lainey — because I just knew our voices would sound good together. She loved it and she sang the second verse and sent it back to me. She sent a bunch of options, because she had to change the melody to suit her key, and then just did some ad lib bits and pieces. I just sifted through it all and chopped it and edited it. She just killed it.

What about a full album from you two? 

I would do that. She’s so fun.

In December 2022, you sold your master recordings to Litmus Music, including 10 studio albums and a greatest hits compilation. Why? 

The timing felt good. I really liked  [co-founders]  Dan McCarroll and Hank Forsyth at Litmus, and I felt good about where it was going. So [it] definitely wasn’t just about selling it — “Ka-Ching!”  I wanted to feel good about where it was going and that I could stay involved. I’ve stayed involved with all of those masters — and, hopefully, we’ll get to do that as we keep moving forward.

I kept all my publishing as a writer. I always remember the famous Willie Nelson story about his selling “Crazy” for 50 bucks, and Willie’s attitude was “I needed the 50 bucks and I got it, so I was happy.” There’s something kind of wonderful about that, just keeping it in perspective.

Country fans are now streaming at much higher rates than previously  and country radio is not the only way for fans to discover music. How has your relationship with radio changed? 

I find radio is still very important because, at the end of the day, they’re all ways in which our audience can discover our music. And one of the beautiful things about radio that still exists is you get to just have this flow of songs, so you’ve got it on in your car or your workplace, your home, wherever it is, and you’ve got this flow going.

I love the fact that radio is still a thing and that it’s still as strong as it is. There’s a huge amount of people that still haven’t turned on the tap yet for streaming. There’s a lot of people who do all of it. It’s not necessarily either/or and certainly a lot of my audience is a blend of all of it. I’ve got long relationships with lots of radio people and I’m really grateful for that. 

To put it mildly, HYBE’s relationship with Min Hee-jin, ex-CEO of the company’s label subsidiary ADOR, has been a rocky one this year — and the saga doesn’t appear to be over yet.

Months after the K-pop giant announced it had launched an investigation into ADOR — home to chart-topping girl group NewJeans — and its CEO Min, the dispute has devolved into an ongoing war of he-said-she-saids complete with teary press conferences, accusations of plagiarism, numerous additional lawsuits, and both Korean and international fans fiercely taking sides.

The crux of the dispute revolves HYBE’s claims that Min is trying to hijack control of ADOR and NewJeans, among other accusations. The feud has since grown to rope in the K-pop groups ILLIT and LE SSERAFIM, in the process becoming one of K-pop’s most public industry disputes to date — and it’s only gotten more tangled and complicated as the months have gone on. To outsiders, the pitched battle provides a peek into the increasingly competitive and high-stakes nature of the South Korean entertainment landscape.

As HYBE and Min fight it out in courtrooms and through press statements, the five members of NewJeans — Minji, Hanni, Danielle, Haerin and Hyein — have also been greatly affected. In the saga’s most recent development, the girl group’s members voiced their concern for NewJeans’ future during a since-deleted livestream and demanded that Min be reinstated as ADOR’s CEO. “Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening,” Minji said during the livestream. “These incidents naturally make us question whether HYBE really cares about NewJeans.”

Below, check out a full timeline of every development in the ongoing dispute so far.

It’s not every day that you wake up to a loving shout-out from one of the planet’s biggest pop stars. But that’s where Bay City, Texas rapper That Mexican OT is right now after Beyoncé gave him a loud and proud stamp of approval in an email interview with GQ in which the “Texas Hold ‘Em” superstar said she’s a huge fan of the “Johnny Dang” MC.

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“THANK YU!!! [prayer hands emoji] @Beyonce & S/O TO HOUSTON,” OT — whose stage name is short for Outta Texas — tweeted on Tuesday along with the iconic GIF of Flavor of Love‘s Tiffany Pollard incredulously saying “BEYONCE?” to a fellow contestant who thinks she looks like the global icon.

In the interview, Bey was asked which music and movies/TV are inspiring her right now and noted that she respects “all of the female singers-songwriters who are out right now,” while mentioning Raye, Victoria Monét, Sasha Keable, Chloe x Halle, and Reneé Rapp, as well as Doechii and GloRilla. Then came the the nod that put him over the edge. “I just heard That Mexican OT, he’s from Houston…. He goes hard!,” she said in reference to the fellow Houstonian whose 2023 breakthrough hit “Johnny Dang” hit No. 65 on the Billboard Hot 100.

Last year, the rapper told Billboard that breakthrough hit is not only an homage to Slick Rick’s signature flow on his 1989 top 5 Hot R&B/Hip-Hop Songs chart classic “Children’s Story,” but also a nod to Queen Bey herself. “Dang,” he said, is also a nod to the sought-after Texas jeweler of the same name, who appears in the song’s video, who has created flashy chains and grills for artists including Migos, Nicki Minaj, Travis Scott and, of course, Beyoncé.

Check out That Mexican OT’s tweet below.

After 17 years in Ibiza, IMS is expanding to the Middle East.

The annual electronic music conference announced Thursday (Sept. 12) that it will host the debut edition of IMS Dubai on Nov. 14-15 at the W Dubai – Mina Seyahi.

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The two-day event will feature MENA region-based speakers from YouTube, Warner Music Group, Anghami, Believe and more, along with artists and organizers of regional events including Morocco’s Oasis Festival, Dubai’s Soho Garden and Groove on the Grass, and Beirut’s Factory People.

Additionally, speakers from outside the Middle East will represent companies and brands including Tomorrowland, Defected Records, CAA, WME, He.She.They and the Association For Electronic Music.

An opening keynote will be delivered by Maha ElNabaw, managing editor of Billboard Arabia. Other speakers will include Aloki Batra, CEO of The Pacha Group and Five Hospitality; Janet Ashak, YouTube’s head of music in the region; and more. Artist participants include Iranian producer Deep Dish, and Saudi Arabian producer Cosmicat. As at the Ibiza event, IMS Dubai will be hosted by BBC Radio’s Pete Tong, who is also an IMS co-founder.

The two-day conference will feature 13 panel discussions, with topics including navigating the music industry in the MENA region; a look at culture tourism focused on Ibiza and Dubai; MENA region investors; regional talent buyers; the growth of labels and streaming in the region; the underground scene in Dubai; a focus on the Egyptian market; MENA women in music; and more.

Passes for the event go on sale Sept. 19.

“For almost two decades, International Music Summit has united the global electronic music community annually in Ibiza to explore industry trends, innovations, and the challenges our diverse community faces,” the IMS founders said in a joint statement. “To make a global impact, IMS seeks to be where change is happening, which is why we’ve also hosted three editions of IMS Asia Pacific in Shanghai and one in Singapore, five IMS Engage events in Los Angeles, and three IMS College events in Malta. IMS Dubai will debut in the United Arab Emirates, marking a strategic expansion into the Middle East and North Africa.”

Organizers note that the conference “will not receive government or cultural funding or incentives for this initiative.” Digital download platform Beatport acquired a majority stake in IMS in 2023, with support for the event also coming from AlphaTheta, the owner of Pioneer DJ.

“Our goal is to inspire continued growth, support, and investment while addressing the unique cultural challenges musicians and start-ups face,” the statement continues. “Electronic music culture is built on long standing principles of bringing people together from diverse backgrounds on the dancefloor. Music has the power to unify and we all have a part to play in creating safer spaces for all; a principle that IMS and Beatport proudly stand behind.”

The MENA region is indeed a current buzzy growth market for electronic music and more. The 2024 IFPI Global Report found that total MENA revenue rose by 14.4% in 2023 following a 26.8% jump in 2022. According to IFPI, streaming revenue accounted for 98.4% of the region’s market over the last year.

Green Day is heading down under next year for a multi-date stadium tour.

The Rock Hall-inducted rock trio’s The Saviors Tour will swing into Melbourne’s Marvel Stadium on March 1, followed by Engie Stadium in Sydney on March 3, and wrap March 5 at CBUS Super Stadium, on the Gold Coast.

Billie Joe Armstrong, Mike Dirnt and Tré Cool will play in full Dookie, which this year marks its 30th anniversary, and American Idiot, celebrating its 20th year. The set list will include cuts from Saviors, their 14th and latest album, and hits from across their career.

West Coast rockers AFI is the support, marking their first dates in Australia since 2017.

“We’ve never been more excited to unleash new music than with Saviors, a record that’s meant to be rocked live, together,” reads a statement from Billie Joe Armstrong, Mike Dirnt and Tré Cool. “And we cannot wait to return to Australia, it’s been way too long. So let’s thrash.”

Live Nation and Triple M are presenting the Australian leg of Green Day’s world tour.

Green Day is always welcome in Australia. Earlier this year, Saviors arrived at No. 2 on the ARIA Chart, for the rockers’ 12th top 10 album here. Three of those LPs led the national chart: Dookie (in 1994), American Idiot (2004) and Father Of All Motherf—ers (2020).

The California band was last booked to play Australia and New Zealand in 2020 for the four-date Hella Mega Tour, also featuring Fall Out Boy and Weezer. That run, however, was cancelled due to the pandemic. The Saviors Tour will be their first visit to these parts since 2017, in support of Revolution Radio.

Green Day’s Saviors Tour made headlines last week when their performance at Comerica Park in Detroit was paused when a unauthorized drone was reportedly spotted hovering within sight of the stage. The bandmates were pulled from the stage, mid-song, returning 10 minutes later.

Green Day’s “The Saviors Tour” – Australia 2025 With AFI

March 1 — Marvel Stadium, Melbourne

March 3 — Engie Stadium, Sydney

March 5 — Cbus Super Stadium, Gold Coast

Rock legend Jon Bon Jovi stepped into an unexpected role as a hero on Tuesday (Sept. 10) when he helped talk a distressed woman off the edge of a Nashville bridge.

The incident, which occurred on the John Seigenthaler Pedestrian Bridge, was captured on surveillance footage released by the Metropolitan Nashville Police Department.

The 62-year-old, who was filming a music video at the time, approached the woman with another person and calmly convinced her to step down from the ledge over the Cumberland River.

After about a minute of conversation, the footage shows Bon Jovi and the other individual helping the woman climb back over the railing. The singer then embraced her, before comforting her as they walked down the bridge together. Police confirmed that the woman was later taken to receive mental health care.

“A shout out to @jonbonjovi & his team for helping a woman on the Seigenthaler Ped Bridge Tue night. Bon Jovi helped persuade her to come off the ledge over the Cumberland River to safety,” Nashville police shared on X (formerly Twitter).

Nashville Police Chief John Drake praised the singer, stating, “It takes all of us to help keep each other safe.”

Bon Jovi’s involvement in the rescue is perhaps unsurprising given his extensive charity work through the JBJ Soul Foundation, which focuses on helping those affected by homelessness, hunger, and other crises.

This act of kindness has only further endeared Bon Jovi to fans, many of whom took to social media to praise the “Livin’ On a Prayer” legend.

When he’s not saving lives, Bon Jovi remains a longtime fixture in the music industry. The frontman for Bon Jovi, one of the world’s best-selling rock bands, has four Billboard Hot 100 No. 1 hits under his belt, including classics like “Livin’ on a Prayer” and “You Give Love a Bad Name.” Earlier this year, the band released their album Forever, which debuted at No. 1 on Billboard’s Top Album Sales chart.

Check out footage released by Nashville PD below.

On Wednesday (Sept. 11), the MTV Video Music Awards celebrated its 40th anniversary with a star-studded telecast led by first-time host Megan Thee Stallion.

In addition to Thee Hot Girl Coach’s fiery Megan medley — which featured her Billboard Hot 100 hits “Hiss” (No. 1), “Boa” (No. 39) and “Mamushi” (with Yuki Chiba, No. 36) — the three-hour telecast also featured electrifying performances from Eminem, Jelly Roll, Shawn Mendes, Karol G, LISA, Sabrina Carpenter, Chappell Roan, Katy Perry, Doechii, Anitta, Fat Joe, DJ Khaled, Rauw Alejandro, Benson Boone, LL Cool J, Public Enemy, Halsey, Lenny Kravitz, Quavo, Camila Cabello, GloRilla, Teddy Swims and Jessie Murph.

Taylor Swift, who was joined by “boyfriend” Travis Kelce, was the night’s biggest winner. By clinching seven Moonpeople from her 12 overall nominations, Swift surpassed Beyoncé as the biggest VMAs winner of all time. Carpenter took home her first Moonperson (song of the year for “Espresso”), as did fellow 2024 breakout star Roan (best new artist). Perry reigned as the night’s biggest honoree as she became the latest artist to receive the coveted Michael Jackson Video Vanguard Award. Introduced by her fiancé Orlando Bloom, Perry delivered a bombastic career-spanning medley that notably featured two selections from her forthcoming 143 album: “Lifetimes” and the Doechii-assisted “I’m His, He’s Mine.”

Of course, no single television program can capture everything that happens on a night when so many stars come out to play — but Billboard has you covered. From the ground floor of Long Island’s UBS Arena to a VIP suite hosted by Bacardí Rum, the official spirits partner of the 2024 MTV VMAs which also boasts a global partnership with Cabello, Billboard was a true fly on the wall.

Here are five things you missed on the 2024 MTV Video Music Awards telecast.