Spoiler alert: This story contains the identity of the winner of season 9, revealed on Wednesday night’s (May 17) episode of The Masked Singer.

Like something straight out of Greek mythology, Medusa’s journey to the Masked Singer crown was a heroic one.

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It was a star-studded season, which featured iconic actors Dick Van Dyke, Malin Akerman, George Wendt and Lou Diamond Phillips; impressive singers like Sara Evans, Debbie Gibson, Michael Bolton, Dee Snider and Pentatonix; and every type of celebrity in between. It all led up to The Masked Singer‘s final battle of season 9 on Wednesday night, in which two of the season’s favorites, Macaw and Medusa, went head-to-snake-filled-head.

Throughout the season, Medusa wowed judges with mystical, powerful renditions of Billie Eilish’s “Happier Than Ever,” Rihanna’s “Diamonds,” Shawn Mendes’ “Mercy,” My Chemical Romance’s “Welcome to the Black Parade” and more. However, it almost came tumbling down during New York Night, when Medusa and California Roll competed in the Battle Royale, singing “Uptown Girl” by Billy Joel. The panel of judges chose California Roll to go on to the next round, but used their first-ever save on Medusa when judge Nicole Scherzinger rang the Ding Dong Keep It On Bell.

Before getting crowned the winner of The Masked Singer on Wednesday night, the judges were perplexed when it came to her identity. Jenny McCarthy Wahlberg initially thought she might be Ellie Goulding or Halsey, while Ken Jeong thought Medusa might be the Duchess of Sussex Meghan Markle, and Robin Thicke guessed Kesha. Scherzinger predicted Tove Lo or Lorde, before accurately guessing the woman behind the myth: British-American singer-songwriter, Bishop Briggs.

The star — known for her passionate vocals in hits like “River” — spoke to Billboard before Wednesday night’s finale, sharing her emotion-filled journey to the crown, the inspiration behind her upcoming EP When Everything Went Dark and how Medusa helped turn her weaknesses to stone.

Congratulations on your big win! How does it feel?

Thank you! It is the coolest thing ever. I can’t believe that I can even share that this is happening.

Did anyone in your personal life suspect that Medusa was you?

I definitely got a lot of text messages and I tried my best to keep it a secret. I just can’t wait to text them all back tonight and tell them they were right.

You had the judges pretty stumped throughout the season. Was it exciting to be the secret but incredible talent on the show?

I wasn’t super surprised that I didn’t get guessed just because I’m still an up-and-coming artist. I will say though, when Nicole eventually guessed me, all of a sudden you feel very exposed [laughs]. I felt very aware of my body and mannerisms. It was nice to fly under the radar, though.

On the other hand, you got compared to some amazing artists. The judges thought you might be Ellie Goulding, Halsey or Kesha. How did that feel?

Never forget, they also said Lorde at one point. I’m definitely holding on to those and never forgetting that it’s the coolest thing ever.

Nicole Scherzinger also saved you earlier in the season. Do you know her personally and how did it feel to be championed by her throughout the show?

I do not know her personally, but I am obviously obsessed with her. Coming into the show, she was vocalist that I really, really admire and I feel like she’s really underrated for what an incredible vocal talent she has. I mean, she sings like Whitney Houston. So the fact that she had any response to my voice, it meant so much to me. And with the bell, that moment, I cannot even explain how everything turned into slow motion. They were all yelling ‘Take it off!’ I really thought that I was going to be going home. You really learn in those moments how much you want to be there.

We have to talk about your amazing costume. Why Medusa?

I feel that she is someone who was really misunderstood and I was balancing a lot when I was on the show. I was six months postpartum. I was a new mom and I was pumping in between performing. I feel like the idea that women can be so many different things all at once really is Medusa to me. To be able to use Medusa strength when I really needed it, meant so much.

Balancing your postpartum journey with this show sounds tough.

I barely balanced it at all. I was writing notes to my son even if I was away only for a few hours and I was bombarding him and my husband with FaceTime. There is no such thing as balance, but we can find that space where we get to do what we love, and also be present as a parent. I think finding those moments means everything and it’s not talked about enough. I’m still on the journey of postpartum and it’s crazy how much your mind and body completely evolves and changes.

With the physical struggles of postpartum and choosing such difficult songs to perform, how did you manage it all while in a costume?

I love performing so much, and my favorite thing about performing is really losing myself in whatever song I’m singing. I feel like I got to use the fact that I really lean into the emotion of every song to my advantage. I also feel like the snakes were good luck charms and they whispered to me. The company kept me warm at night, so I think there was a side of it where I wasn’t alone on stage.

It’s an exciting year for you. You released a new single, “Baggage,” and your EP, When Everything Went Dark, is out June 23. What’s the story behind your new music?

It’s about these past few years, the past, present and future. I lost my sister really unexpectedly. The journey of grief is an ever evolving one and, with that and becoming a mom, I felt like exploring the topics of love, loss, grief and, hopefully, by the end of it, feeling empowered to keep going. That really is the main thing that I really am trying to work on, not only as an artist and through the EP but as a human being. Then I have a tour coming up, that I’ll be bringing the baby on, of course. I’m really excited to be able to perform the songs.

Is it strange to have grief co-exist with the joy of bringing a new life into the world?

Yes, and it’s so hard. You can’t help but feel like perhaps the new life was a gift left behind from that loved one. The amount of times that you hear about these things happening in such close proximity, I always wonder that because my son is someone that really helped me continue. Even when I was pregnant, I made sure to work on my mental health just to make sure that I was going to be a grounded mom that could talk about what has happened.

What do you hope viewers take away from your Masked Singer journey?

Everything we’re talking about, which is you can be multiple things all at once. Don’t be afraid to lean into those different sides of your personality and your spirit, and I hope that people feel empowered to do so.

In Bang Si-hyuk’s Billboard cover story, the HYBE founder and chairman shared his personal feelings and the first steps the company was taking in preparing for the rise of generative AI in music.

“I don’t know how long human artists can be the only ones to satisfy human needs and human tastes,” Bang told Billboard editorial director Hannah Karp, before new details were revealed about “Project L,” HYBE’s first public undertaking with Supertone, the artificial-intelligence audio company that the K-pop corporation acquired through a $36 million investment this past January.

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After two weeks of online teasers for MIDNATT, described only by official communications as “the mysterious artist” in collaboration with its legendary BIGHIT MUSIC label and recently created interactive-media unit HYBE IM, the secretive “Project L” was finally unveiled on Monday. In a never-before-seen debut single released in six languages, “Masquerade” was revealed with MIDNATT singing in English, Korean, Spanish, Japanese, Chinese and Vietnamese, utilizing Supertone’s technology to assist in multilingual pronunciation, tone and delivery, as well as shift MIDNATT’s voice from male to female.

As high-tech as the AI-enabled artist sounds, the inspiration and goals behind MIDNATT are far more human.

Despite fan theories of a virtual pop groupmusic-focused game or fully AI artist, MIDNATT is the very-much human singer-songwriter Lee Hyun. Configured as an alter ego for the veteran musician who debuted in 2007 under Big Hit Entertainment (before the label’s corporate rebrand into HYBE), MIDNATT’s sleek electro-pop sound on “Masquerade” is far from Lee’s career beginnings in vocal acts 8eight and Homme, or his signature, chart-topping ballads like “You Are the Best of My Life.”

“It started with the thinking that I want to try a different style of music,” Lee Hyun tells Billboard during an evening Zoom call from Seoul. “You can think of MIDNATT as myself trying a new genre. I didn’t come up with the name by myself, but I think the name started from my wish to express the boundary between wanting to try new music and take on challenges, and not doing that as an artist doing music for more than a decade.”

While Lee’s labelmates at BIGHIT MUSIC, like BTS and TOMORROW X TOGETHER, have transformed the global music industry, a project like MIDNATT (which translates to “mid night” in Swedish and “bare face” in Korean) allows a more senior soloist the rare chance in K-pop to take on a new musical identity and concept.

“[The song’s] producer Hitchhiker said, ‘You have something different in you, something alternative in you, so let’s bring that out,’” Lee Hyun says of a chat with the experimental producer, who has delivered his brand of mind-bending EDM for artists like BoA, Super Junior, f(x), EXO and NCT for over a decade. “He listened to the demo that I recorded for producer Bang [Si-hyuk] before I even debuted — I couldn’t even remember I did that — but he remembered that I recorded in an R&B style in falsetto. He said, ‘You have that voice in you; why don’t we develop your voice from there?’ And that’s how the whole project came to begin. I’m kind of feeling pressure right now because I didn’t expect this to be this big of a project.”

In fact, MIDNATT’s focus on accessibility and deeper connection with people worldwide looks to somewhat tackle a hurdle in the Korean-pop industry of getting listeners past any language barriers.

“When I would listen to music in other languages, I couldn’t immerse into the music as well as in my native language, and we were talking about how we could overcome those language barriers,” Lee Hyun adds. “The project came to be by talking about these language barriers.”

Even with global appeal among the HYBE artists (albums from BTS, TXT, SEVENTEEN and ENHYPEN made up half of the IFPI’s global top 10 album sales chart last year), the corporation saw their tech advancements as an opportunity to align with Lee Hyun’s larger conversations.

“Rather than a technology test, we initiated this project based on the desire to bring music and the artist’s message together, which are the essence of HYBE, to a wider audience through the convergence of music and technology,” explains Wooyong Chung, president of HYBE IM. “We decided to take on this project because of the stories [Lee Hyun] wanted to share, the musical challenges he wanted to take, and the desire to reach out to his fans in creative ways seemed possible with a little push from technology. With MIDNATT, we believed we could introduce a new dynamic to the industry by combining music and technology to create something fresh and authentic.”

For “Masquerade,” Lee Hyun initially recorded in Korean, with the song later translated into five other languages.

“I thought at first Vietnamese and Spanish would be really hard,” Lee Hyun recalls of the recording process. “But it turned out that English was the most difficult language to record in…of course, the technology improved the pronunciation and intonation overall. But since it’s my song and I have to record it, I did my best to be very fluent in the language that I’m recording in, because you never know, I might have a chance to do it live someday.”

For picking the languages, Chung adds that Supertone had already successfully worked in the chosen six (“We needed to create high-quality music,” he says). At the same time, metrics like engagement on different fan platforms also influenced their decision (“We also took into account the artist’s desire to communicate with fans who left precious comments on YouTube even if the artist may not be familiar with their language”). There’s also hope to develop more music in even more languages.

“Masquerade” also brings an unexpected but fascinating new perspective to the hot topic of artificial intelligence in music. While Drake, The Weeknd and Universal Music Group made headlines for taking down a fake song by the two superstars after it earned millions of streams and impressions on streaming services and social platforms, MIDNATT has the artist’s full permission for all AI editing.

“After I experienced it myself, I think it really depends on how you utilize it,” Lee says of artists and creatives who are wary of AI in music. “The sense of responsibility is what matters the most. So as far as it is used in the music, I think it is a great opportunity for me to make [my song] more accessible and more immersive to the fans worldwide.”

“We have been coping with new technology by exchanging ideas to ensure it to become a tool that helps people,” adds Chung. “Our principle for applying technology to music in this project is clear. The rights of artists to their creations must be protected with utmost importance. With that in mind, we strive to push the boundaries of what musicians can imagine and what music can express.”

Similar to UMG’s take that generative AI creations “demonstrate why platforms have a fundamental legal and ethical responsibility to prevent the use of their services in ways that harm artists,” Chung agrees that “creating social consensus as well as proper legislation to keep up with the new changes are essential” to face this new era of music.

While Lee Hyun thinks “artists have to be discreet and cautious” with rapidly advancing tech, the hot-topic of AI itself seems to have added an unexpected, and ultimately unnecessary, intensity to his hopes to dream bigger with his new music.

“With the word AI aside, I just want everyone to know that this started out genuinely and kindly in my heart to bring immersive experiences with my music of MIDNATT,” Lee Hyun says. “I simply want everyone to enjoy my new challenge.”

And suppose more people hear “Masquerade” and MIDNATT’s music thanks to an artificially intelligent smoothing of language barriers? In that case, the challenge is on its way to realization.

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The cat’s out of the bag. We finally know the identity of that mysterious book that hit No. 1 on Amazon without a title or a cover.

It turns out, the cryptic listing is a BTS biography that will be released this summer via Flatiron Books and Big Hit Music. Beyond the Story: 10-Year Record of BTS ($45) is described as an “oral history of the K-Pop group in South Korea and the United States,” according to The New York Times.

The book is written by BTS and journalist Kang Myeong-seok and translated into English by Anton Hur.

Buy: Beyond the Story: 10-Year Record of BTS $27.00

Beyond the Story is on sale for $27 at Amazon and $29.99 for a Kindle version. Fans can pre-order the book online at Amazon and Barnes & Noble (it’s on sale for $39.99).

There’s not much else known about the release, beyond that it will include 544 pages and drops on July 9. The book was initially listed as “4C Untitled Flatiron Nonfiction Summer 2023” on Amazon.

The cryptic title was rumored to be a Taylor Swift memoir. Swifties took to social media to point out that 544 adds up to 13, which happens to be Swift’s favorite number and her birthdate. Swift’s fans also theorized that the July 9 release date might be a reference to her song “Last Kiss.”

But July 9 is also significant to BTS as this year’s ARMY Day will celebrate the fanbase’s 10th anniversary. As ARMY Day approaches, BTS fans can click here to pre-order a copy of Beyond the Story or click the buy button featured above.

Sting and Shaggy’s bromance continues with the launch of One Fine Day, a new one-day festival the two friends have created and curated.

The festival, which also features Thundercat, Tank & the Bangas, Koffee and G. Love & Special Sauce, among others, will take place across two stages at Philadelphia’s The Mann in Fairmount Park on Sept. 9. 

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Sting and Shaggy, whose joint album 44/876 won the Grammy for best reggae album in 2019, have been fast friends and collaborators for the last several years. The duo will headline the main stage at the festival, performing their biggest hits, including “Every Breath You Take,” “Message in a Bottle,” “Boombastic” and “Angel,” both together and trading off on songs. The Sept. 9 appearance marks the only time the two will perform together in 2023. 

“I love how Shaggy and I effortlessly push each other to the creative edges,” said Sting in a statement. “After having made the 44/876 album together and recording an album of Frank Sinatra covers in a reggae style [the Grammy-nominated Com Fly Wid Mi], a day of hits and musical adventures in one of our favorite cities seemed like the next illogical step!” 

“Sting is a catalyst for musical curiosity,” added Shaggy. “When we collaborate, we combine our musical tastes, individual cultures and a sense of wonder.  We wanted to invite some of our favorite musicians to gather in real time and share that very vibe at One Fine Day.”

The festival is presented by Live Nation and Cherrytree Music Company, which manages both artists. Other artists on the bill include Kes, Flor de Toloache and Giordana Angi.

An artist presale began today (May 16).  Tickets go on sale to the general public on May 19 at Ticketmaster.

See the full lineup below:

The New York Stock Exchange (NYSE) has notified radio and podcast giant Audacy of its plan to delist the company’s Class A common stock from the exchange over its consistently low share price, Audacy announced Tuesday (May 16).

According to a press release, “the NYSE will consider commencing delisting procedures when a company’s listed securities experience an abnormally low selling price.” The NYSE abruptly halted trading of Audacy’s stock at 2 p.m. ET on Tuesday, when shares were trading for $.094 — down slightly from $.10 at the start of the day. The company’s share price is down nearly 63% since the beginning of the year.

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NYSE rules require a minimum average closing price of $1 per share over 30 consecutive trading days, but Audacy’s share price hasn’t traded above that threshold since July 5, 2022.

The NYSE has applied to the Securities and Exchange Commission (SEC) to delist Audacy’s stock. While that process plays out, trading in the company’s common stock on the exchange will be suspended, though it can still be traded over the counter.

Audacy signaled its intent to appeal the delisting by filing a written request, which it is required to do within 10 days of receiving the delisting notice. If that appeal is successful, the stock may resume trading on the NYSE.

In a statement, Audacy president/CEO David J. Field said that while the company is “disappointed” in the NYSE’s decision, he is “hopeful” that Audacy stock will start trading on the exchange again later this year “as we execute our action plans which include a reverse stock split to satisfy NYSE rules, the continued execution of our liability management plans and working with our financial advisors to refinance our debt.”

Field also stated that the company is confident it “will benefit from a general market recovery and will be able to capitalize on our investments in strategic transformation that position Audacy well for the future.”

Radio companies have been slammed by an advertising slowdown since the second half of 2022, and Audacy has been particularly hard-hit. In its first-quarter earnings released Wednesday (May 10), the company’s net revenue of $259.6 million was down 5.7% year-over-year, while cash operating expenses were up 3%. Adjusted earnings before interest, taxes, depreciation and amortization (EBITDA) was $3.5 million, compared to $26 million in the first quarter of 2022.

On a May 10 earnings call, Audacy CFO Richard Schmaeling noted that the company’s network advertising revenue fell 6% year-over-year due to inflation and rising interest rates (though its podcast advertising revenue was up 14%). He warned that advertising demand has “further softened” since the start of 2023 and added that “it could get worse before it gets better,” noting that the company “is continuing to work to accelerate revenue growth, develop and execute added cost reduction actions and to sell other noncore assets.”

“However,” Schmaeling continued, “these actions may not be sufficient to fully mitigate the impact of potential further advertising weakness.”

Three hours or bust!

On their ambitious new tours, Beyoncé and Taylor Swift are setting the bar impossibly high for treks to come, playing three-hour (or longer!) concerts that each cover more than 3 dozen songs from their respective catalogs. Rock fans have come to expect marathon concerts from the likes of Bruce Springsteen or Pearl Jam, but this is a rarity for a pop concert; by comparison, another currently touring pop superstar, Janet Jackson, is playing just under two-hour shows.

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On the new Billboard Pop Shop Podcast, Katie & Keith — with a special assist from Billboard touring director Dave Brooks — are discussing whether this could become the norm for a pop show or if Bey and Swift are just supernova outliers.

Also on the show, we’ve got chart news on how Morgan Wallen charts a 10th straight week at No. 1 on the Billboard 200 with his album One Thing at a Time. How rare is that? How many albums have spent at least 10 weeks at No. 1 in the chart’s history? And how many more weeks do we think he’ll spend on top? Plus, Ed Sheeran’s – (Subtract) lands at No. 2 in its first week on the chart.

The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s managing director, charts and data operations, Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)