Tina Knowles shared an unreleased excerpt from the upcoming re-release of her memoir Matriarch: A Memoir during a recent Kurt Geiger London event.

On Friday (April 17), Beyoncé and Solange’s mother, 72, attended an intimate luncheon at Avra in Beverly Hills to celebrate the British fashion and accessories brand’s 2026 Mother’s Day campaign.

Related

During the event — which centered on themes of motherhood, self-expression and family — Knowles previewed a new excerpt from the upcoming paperback edition of Matriarch, scheduled for release on April 28.

“I’m so grateful for the team at Kurt Geiger for such a special pre-Mother’s Day celebration not just for myself but for all of my friends some who are also great mothers,” Knowles said. “This was an incredible way to bring our special campaign to life, sharing space with some of the most beautiful people.”

Originally published in April 2025, Matriarch shares Knowles’ reflections on raising Beyoncé and Solange from childhood into adulthood as two of music’s biggest stars. She also details her recent breast cancer journey, from receiving a diagnosis last year to undergoing surgery, during which doctors successfully removed the entire tumor.

In early April, Knowles partnered with Kurt Geiger London to star in the brand’s Mother’s Day collection, which features five exclusive pink handbag styles. The design is intended to capture Knowles as she prepares for Mother’s Day tea with her grandchildren.

Notable attendees at Friday’s luncheon included Terry Ellis of En Vogue; actress Lela Rochon (Waiting to Exhale); stylist Ty Hunter; actress/director/producer LaTanya Richardson Jackson; and actress/director/ and producer Vivica A. Fox. Yvette Noel-Schure, head of publicity at Parkwood Entertainment, was also in attendance.

“What an incredible afternoon celebrating our beautiful campaign with Ms Tina,” said Rebecca Farrar-Hockley, chief creative officer of Kurt Geiger London. “Being in a room filled with such inspiring people, all recognizing the power of family and the relationships that shape us — whether mother, grandmother, auntie, daughter, or son — was nothing short of magical.”


Billboard VIP Pass

Ella Langley achieves her first No. 1 on the Billboard 200 albums chart as her sophomore studio set Dandelion debuts atop the list dated April 25. The effort launches with 169,000 equivalent album units earned in the United States in the week ending April 16, according to Luminate. That marks the largest week for a country album by a woman in two years, and the biggest week of 2026 for any woman.

Related

Dandelion was preceded by the smash crossover hit “Choosin’ Texas,” which has spent 20 weeks at No. 1 on Hot Country Songs, six weeks atop the all-genre Billboard Hot 100 and three weeks at No. 1 on Country Airplay.

With Dandelion’s No. 1 Billboard 200 debut following the No. 1 bow of Megan Moroney’s Cloud 9 on the March 7-dated chart, there have been two No. 1 country albums by two different solo women in a calendar year for the first time in more than a decade. It last happened in 2012, when Taylor Swift’s Red and Carrie Underwood’s Blown Away both reigned. (Honorable mention to 2021, which saw two country No. 1s, but by the same artist, with Swift’s Fearless [Taylor’s Version] and Red [Taylor’s Version].)

Also notable, Dandelion and Cloud 9 are both the first No. 1s for Langley and Moroney. The chart last saw a pair of first No. 1s that were country albums by solo women in the same year nearly 20 years ago. In 2007, Reba McEntire and Carrie Underwood both got their first No. 1s, with Reba Duets and Carnival Ride, respectively.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. 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 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new April 25, 2026-dated chart will be posted in full on Billboard‘s website on April 21. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of Dandelion’s 169,000 equivalent album units earned in the latest tracking week, SEA units comprise 128,000 (equaling 130.46 million on-demand official streams of the set’s tracks, Langley’s best streaming week; it debuts at No. 1 on Top Streaming Albums), album sales comprise 39,000 (her best sales week; it debuts at No. 1 on Top Album Sales) and TEA units comprise the remaining sum.

Dandelion claims the largest week for a country album by a woman in two years, and the biggest week of 2026 for any woman. The set also scores the largest streaming week for an album by a woman in 2026, and the biggest streaming week for a country album by a woman in two years. Among country albums by women, Beyoncé’s Cowboy Carter tallied the last larger week by units (407,000 in its debut week; April 13, 2024, chart) and streams (136.08 million in its second week; April 20, 2024, chart).

Country albums are defined as those that are eligible for, or have charted on, Billboard’s Top Country Albums chart.

Dandelion is Langley’s first top 10 on the Billboard 200, and her second chart entry, following her Hungover debut. That set arrived on the chart in August 2024 but didn’t hit the top 40 until this January and peaked at No. 20 a week ago (April 18 chart), in its 80th week on the list.

Dandelion was issued as a standard album at streaming services and at retail as a digital download, CD and vinyl (in two variants, one signed).

Morgan Wallen’s former No. 1 I’m the Problem holds at No. 2 on the latest Billboard 200, with 83,000 equivalent album units earned (up 4%). In turn, country albums are Nos. 1 and 2 for the second time in 2026, following the Jan. 24-dated list, when Zach Bryan’s With Heaven on Top debuted at No. 1 and I’m the Problem fell 1-2. Before that, it last happened on the Feb. 17, 2024-dated chart, when Toby Keith’s 35 Biggest Hits re-entered the chart at No. 1 following his death and Wallen’s One Thing at a Time fell to No. 2.

Back on the latest Billboard 200, BTS’ ARIRANG slips 1-3 in its fourth week on the list, earning 78,000 equivalent album units (down 37%). The set spent it first three weeks atop the chart. Don Toliver’s chart-topping OCTANE is a non-mover at No. 4 (48,000, down 15%), Olivia Dean’s The Art of Loving is steady at No. 5 (nearly 48,000, down 5%), and Bad Bunny’s former leader DeBÍ TiRAR MáS FOToS rises 7-6 (44,000, down 3%).

Justin Bieber’s SWAG zooms 55-7 following his headlining performance during the first weekend of the Coachella Valley Music and Arts Festival. The set surges with 43,000 equivalent album units earned, a gain of 160% compared to the previous week. The increase was largely owed to streaming activity, as SWAG’s songs generated 42,000 SEA units (up 158%), equaling 41.48 million on-demand official streams of the set’s songs — across both its SWAG and deluxe SWAG II reissue that contained additional songs. (All versions of the album are combined for tracking and charting.)

Bieber headlined the second night of both weekends of the festival, taking the stage on April 11 and 18, which was also livestreamed on Coachella’s YouTube channel.

Luke Combs’ The Way I Am falls 6-8 on the Billboard 200 with 42,000 equivalent album units earned (down 9%) and Wallen’s One Thing at a Time rises 9-8 with 40,000 units (up 5%).

Sabrina Carpenter’s former No. 1 Man’s Best Friend jumps back into the top 10, climbing 18-10, following her headlining turn at Coachella. She reigned over the first night of both weekends, on April 10 and 17. Man’s Best Friend flies up the list with 40,000 equivalent album units earned, up 44%. Like SWAG, Man’s Best Friend mostly gained from streaming increases — it earned 34,000 SEA units (up 60%), equaling 34.39 million on-demand official streams of the album’s songs. Carpenter’s set was also streamed live on Coachella’s YouTube channel.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.


Billboard VIP Pass

Guy Oseary is celebrating Madonna and Sabrina Carpenter’s show-stopping collaboration at Coachella 2026.

On Saturday (April 18), the Queen of Pop’s longtime manager took to social media to reflect on Madonna’s full-circle Coachella moment — 20 years after her first performance at the festival in 2006 —and to show love to Carpenter.

Related

“20 years since @madonna first performance at @coachella, a beautiful full-circle celebration,” Oseary began his Instagram post, alongside a video of Madonna and Carpenter sharing the stage during Carpenter’s headlining set on Friday (April 17).

“On behalf of @saramariezam and I at @maverick, thank you to the very kind and talented @volaramgmt team. And most of all, @sabrinacarpenter.”

Madonna and Carpenter made headlines over the weekend after Madonna’s surprise appearance during the evening set, where the pair teased a new song from Madonna’s upcoming Confessions II album, along with memorable duets of “Vogue” and “Like a Prayer.”

In his post, the veteran music executive also recalled the first time he met Carpenter at the SNL 50 party in February 2025.

“I first met Sabrina at the SNL 50 party, where we bumped into each other walking thru the party,” Oseary wrote. “She told me how much she loved Madonna. Minutes later, she was asked to join the house band at that party to sing an impromptu song: the song she chose: ‘Like A Virgin.’”

He closed his post, writing, “She has always shown love for the Queen, repeatedly… and last night the mutual love was shown and shared with the world.”

Carpenter showed her appreciation for the shout-out by commenting with three pink revolving heart emojis.

Hours later, the “Please Please Please” singer also took to Instagram after her Coachella weekend two headlining set to reflect on the experience.

“Coachella weekend 2 might take the damn cake,” Carpenter captioned a photo gallery of images from the night, which included backstage shots with Madonna.

“Madonna …..I’ve got something i wanna talk about! thank you for coming out, bringing your love, and gracing the audience with everything you are + astrology knowledge + the greatest songs of all time. Last night was straight out of a dream. spending so much time laughing with you and then above all sharing the stage with you is a privilege I’ll never forget.”


Billboard VIP Pass

Cardi B nearly canceled her Atlanta concert over claims that venue staff disrespected her team.

In the hours leading up to her second Little Miss Drama Tour show at Atlanta’s State Farm Arena on Saturday (April 18), the 33-year-old rap star went live on Instagram, showing a heated argument with what appeared to be venue staff over their alleged treatment of members of her team.

Related

“Your f—king employees are being disrespectful … I’m not performing today,” Cardi is heard yelling in the clip, demanding to speak with management.

“We got in here, your employees are being f—king rude for no reason, being rude for no reason,” she continued. “I feel a certain type of way, because you being disrespectful. I did 35 shows, and I never had a problem, and we’ve been kind to everybody.”

Despite the confrontation, Cardi ultimately performed at State Farm Arena for the final night of her Little Miss Drama Tour, which marked her first headlining arena run.

In a follow-up post on X after Saturday’s concert, Cardi wrote, “When you hold power and authority, use it with kindness and respect. Never abuse it… because not everyone will endure your arrogance in silence. Treat others exactly like you demand to be treated. Atlanta… I’ll see you soon.”

Billboard has reached out to State Farm Arena and Cardi’s representatives for further comment.

The Grammy-winning rapper’s 30-plus-date tour supported her long-awaited sophomore album, Am I the Drama?, which topped the Billboard 200 in September 2025.

The Little Miss Drama Tour launched in Palm Desert, California, on Feb. 11 and has featured a range of special guests, including Meek Mill, Megan Thee Stallion, Tyla, Kehlani, Lil’ Kim, Fetty Wap, GloRilla and A Boogie Wit Da Hoodie.


Billboard VIP Pass

Italian tenor Andrea Bocelli transformed Mexico City’s Zócalo into a monumental theater on Saturday (April 18), where his iconic song “Vivo Por Ella,” one of his greatest hits, took an unexpected turn by fusing with cumbia thanks to the unmistakable rhythm of Mexican group Los Ángeles Azules. The free show drew more than 130,000 people, according to figures from the city government.

Related

In addition to Los Ángeles Azules, singer-songwriter Ximena Sariñana and the Orquesta Sinfónica de Minería joined Bocelli for a romantic and emotional evening that merged classical music with contemporary sounds. The event, held in the country’s main public square, was sponsored by the Mexico City Government and Banco Plata.

“Thank you all, this is a wonderful night,” Bocelli said, visibly emotional, in Spanish. The repertoire opened with works by Giuseppe Verdi, such as “Di quella pira” from Il Trovatore and “La donna è mobile” from Rigoletto, setting the tone for an emotional evening that seamlessly transitioned between opera and popular music, deeply connecting with the audience and moving many to tears.

His Zócalo performance was also part of the celebration for the 30th anniversary of his acclaimed album Romanza (1997), which led Billboard’s World Albums chart for an impressive 51 weeks and reached No. 5 on the Classical Albums ranking. On the all-genre Billboard 200 chart, the album peaked at No. 35. (Bocelli has had 29 entries on this chart, including nine top 10s and one No. 1 album, in 2018, with Si).

The Orquesta Sinfónica de Minería, conducted by Carlo Bernini, and a selection of guest artists contributed to the musical experience. Puerto Rican soprano Larisa Martínez performed “Les filles de Cadix” and participated in emotional duets from La Traviata and La Rondine, while baritone Juan Carlos Heredia brought “Toreador” from Carmen to life. Together, they also performed excerpts from Georges Bizet’s The Pearl Fishers, delivering performances that shone with dramatic strength.

The festive mood heightened when Los Ángeles Azules, accompanied by Sariñana, took the stage to perform a new version of their famous song “Mis Sentimientos,” turning the Plaza de la Constitución (the Zócalo’s official name) into a massive dance floor. Later, they joined Bocelli to perform Louis Armstrong’s iconic jazz anthem “What a Wonderful World” and the aforementioned “Vivo Por Ella,” originally recorded in Spanish by the Italian tenor alongside Spanish singer Marta Sánchez in 1996.

Large screens were set up on streets surrounding the Zócalo, allowing more people to enjoy the concert. Some foreign tourists passing through the area also stopped to experience the music.

The evening concluded with a standing ovation and a fireworks display that lit up the sky over the Historic Center of the city as the strains of “Nessun dorma” from Turandot echoed, closing a memorable night with a flourish.

Bocelli thus joined a growing list of international acts who have performed in the iconic plaza, which has previously hosted stars such as Paul McCartney, Roger Waters and Justin Bieber. On March 1, Colombian superstar Shakira set a new record as the artist who has drawn the largest audience to a free concert at the Zócalo, with 400,000 attendees. The previous mark was held by Argentine band Los Fabulosos Cadillacs, who drew 300,000 people on June 3, 2023, followed by Grupo Firme, who gathered 280,000 fans a year earlier.


Billboard VIP Pass

Billboard Women in Music 2026 Innovator honoree Laufey shares why collaboration and innovation are central to her artistry. She explains how performing with artists from different genres, like Benson Boone, Hozier and KATSEYE, gives her the chance to hear her voice in a new light and show that she can’t be boxed into one style. She also reflects on her journey starting from posting videos from her bedroom, answering emails from labels herself, and building a team while remaining independent through her first three albums.

Laufey:

I definitely was a little bit at first. I think the first concert I played, I was like, “Whoa. Who do I think I am to be playing here?” But then it became quite natural after that, and I got over the impostor syndrome of it pretty, pretty fast. And, you know, especially when I’m in the middle of the room, it’s like a theater in every direction. I get to be surrounded by the fans, and they get to experience, like, kind of every side of me. And I’ve kind of felt like that experience actually really lended itself to my music and my world because it’s a whole lot more immersive. But I still love playing theaters, and I will for the rest of my life. So I think it’s good to have both, ‘cause both give me opportunities to show different sides of myself. There were a couple of ways, I think, you know, knowing when to make things big and knowing when to make things small is really important. When you have a big number with dancers and a big orchestration—or with strings and the band and big visuals—you know, you want to make those as fantastical as possible. And we drew a lot of inspiration from opera, from ballet, from musical theater, to make those moments feel really big. And then, in contrast, the moments that are small, you make them feel really, really intimate, and they feel so small because you’ve just offered up something so big. And those moments, I think, taking the time to speak directly to the audience, you know, explain what songs are about, how you came to that lyric or something like that, or even just talking about the day, kind of humanizing the experience of coming. Arenas are quite big and can feel very vast and daunting—not only for the artist but also for the audience.

Keep watching for more!

Justin Bieber brought out a host of special guests during his Coachella weekend two set — including one superfan: Billie Eilish.

The 32-year-old pop superstar took the stage in Indio, California, for his second headlining performance on Saturday (April 18), where he welcomed self-proclaimed diehard Eilish for a rendition of his 2009 track “One Less Lonely Girl.”

Related

During the serenade, the two artists laughed and embraced as Bieber sat Eilish on a stool during a segment of the set that revisited his early YouTube-era videos.

Eilish has previously spoken about her friendship with Bieber, noting that he offered her support early in her career.

“He’s a good friend of mine,” she told SiriusXM Hits 1’s Morning Mash Up in 2020. “He, you know, has been so helpful for me, in terms of just, like, dealing with fame. And he’ll call me sometimes and just say stuff that makes me just feel heard, and like there’s somebody else that goes through the same stuff. So it’s really nice to have him.”

Later in the Coachella set, Bieber welcomed SZA for an acoustic duet of her 2022 track “Snooze,” as well as Sexyy Red for “Sweet Spot.” The pop star also brought out Big Sean for performances of “As Long As You Love Me” and “No Pressure.”

Bieber logged his biggest streaming day of 2026 on Sunday (April 12), following his widely discussed opening weekend Coachella headlining set, where he primarily performed songs from his 2025 Swag album alongside a mid-set segment revisiting and performing over his early YouTube-era hits. He earned 24.6 million streams that day, marking his highest total since July 2025, according to Luminate.


Billboard VIP Pass

PinkPantheress turned her weekend two Coachella set into a guest-filled celebration — complete with surprise appearances, live collaborations and an onstage birthday moment.

Performing at the Mojave tent during the second weekend of the Coachella Valley Music and Arts Festival, the British pop artist elevated her already buzzy set with a rotating lineup of guests, building on her weekend one performance with a more expansive, star-driven show.

Among the night’s biggest moments was the appearance of Zara Larsson, who joined the festivities after fans spotted her on festival grounds earlier in the weekend.

While she didn’t appear for the opening performance of “Stateside” — the track she features on — Larsson took the stage solo to perform the title track from her album Midnight Sun, before teasing that PinkPantheress could feature on an upcoming deluxe edition of the project.

PinkPantheress’ “Stateside,” with Zara Larsson, recently hit No. 1 on both the Billboard Global 200 and the Billboard Global Excl. U.S. charts last month. The song has grown in prominence since Alysa Liu skated to it in her exhibition performance at the Milano Cortina Winter Olympics Feb. 21, two days after she became the women’s figure skating champion, winning the first gold medal in the event for the United States in 24 years.

Janelle Monáe also made a brief but notable appearance during the festivities, joining PinkPantheress on guitar during the set. The performance continued to unfold with appearances from Australian DJ Ninajirachi, alongside actor Tyriq Withers, Chase Infiniti, Slayyyter, and Manon, giving the set a party-like, cameo-heavy feel.

PinkPantheress ran through a string of fan-favorite tracks, including “Stateside,” “Romeo,” “Boy’s a liar Pt. 2” and “Illegal,” maintaining her signature mix of fast-paced, club-ready production and understated vocals.

The set’s most personal moment came during “Illegal,” when Withers returned to the stage to mark the singer’s birthday.

“I really had something important to say… a birdie told me that it is your birthday,” he told the crowd, before presenting her with a rose as dancers held up a “Happy Birthday” sign. The crowd erupted as the two embraced before exiting the stage together.

PinkPantheress’ performance was one of several guest-driven highlights from Coachella’s second weekend. Elsewhere, Olivia Rodrigo joined Addison Rae onstage, while Sabrina Carpenter brought out Madonna during her headlining set on Friday night.

Ella Langley joined Morgan Wallen for the third show of his Still the Problem tour in Tuscaloosa, Alabama Saturday (April 18) night and the pair had big news for fans: they’ve recorded a duet that will drop Friday (April 24).

“Ella wrote this song and sent it me about a month ago and I loved it,” Wallen said from stage. Langley than added that it was coming out on Friday before the two debuted “I Can’t Love You Anymore.”

The two circled each other as they premiered the passionate mid-tempo heartbreaker trading verses before coming together for the chorus.

Music Mayhem Magazine captured a good portion of the song. Hear other snippets here and here.

Though this was the first time fans heard the duet and the news that it was coming out, it looks like Langley may have been teasing it as far back as two weeks ago with the release of the official “Choosin’ Texas” video.  Eagle-eyed observers had been trying to figure out what, if anything, Langley was hinting at the end of the video when the white van that Miranda Lambert and Langley escape in features a license plate that reads “ICLYA.”  Now we know.

Another hint that the two might be partnering up came last week when Langley joined Wallen at his April 7 show at Nashville’s The Pinnacle to duet on “Sand in My Boots.”

The song is not on Langley’s new album, Dandelion, that dropped April 10, so the question remains is it a stand-alone or will it be on the inevitable deluxe version of Dandelion or on a new Wallen project.

Arguably the two hottest artists in country right now are no strangers to extremely successful co-ed duets. Langley, of course, had a massive hit with “You Look Like You Love Me” with Riley Green, taking home the ACM Award for single of the year last year.

Wallen and Tate McRae took their duet, “What I Want,” (which Langley is singing with Wallen on tour) to No. 1 on both the Billboard Hot 100 and Hot Country Songs charts.

Langley will join Wallen for several more shows on his stadium tour, including May 9 in Indianapolis, May 16 in Gainesville, Florida; May 30 in Denver, June 6 in Pittsburgh, June 20 in Chicago, June 27 in Clemson, S.C, July 18 in Baltimore, and Aug. 1 in Philadelphia.

Zayn has hinted at a potential return to Australia and New Zealand, telling fans “you might be seeing me soon” as he looks ahead to future touring plans.

The singer-songwriter made the comment during a recent appearance on KIIS FM’s The Smallzy Show, where he discussed his newly released album KONNAKOL and reflected on his history performing in the region.

“I’ve got plans to come to Australia – you might be seeing me soon,” Zayn said when asked about touring, pointing to Australia and New Zealand as priorities for a future visit.

Zayn elaborated on his connection to the region, referencing his earlier visits as part of One Direction. “Australia and New Zealand are two of the big places in my mind,” he said. “I remember performing there in the band… what the crowds were like, what the people were like… I feel like I want to go back there.”

While no official dates have been confirmed, the comments mark one of the clearest indications yet that the artist is considering a return to the market as a solo act. Zayn has not toured Australia independently since launching his solo career, with his last visit to the country dating back to February 2015 during One Direction’s tour — shortly before his departure from the group.

The remarks arrive as Zayn begins a major international touring cycle elsewhere. The artist is set to embark on a 31-date run across North America, South America, Mexico and the U.K., spanning from May through November. Any potential Australia and New Zealand shows would likely follow that schedule, placing them in a later touring window.

The timing also aligns with the release of KONNAKOL, Zayn’s latest studio album, which arrived April 17. The project marks his return with new material and signals a renewed phase of activity following a quieter period in his career.

During the interview, Zayn also spoke about his artistic growth and reflected on aspects of his earlier career, including moments he described as inauthentic during his time in One Direction.

Since leaving the group in 2015, Zayn has carved out a distinct solo identity, scoring a Billboard Hot 100 No. 1 with “Pillowtalk” and releasing multiple studio albums that blend R&B, pop and alternative influences. However, live touring has remained relatively limited compared to his peers, making the prospect of new international dates — particularly in Australia — notable for fans.

For now, Zayn’s comments remain exploratory rather than confirmatory. But for audiences in Australia and New Zealand, the suggestion of a return marks a potential full-circle moment for an artist who has not performed in the region in over a decade.