Hot like summer, yeah, the internet’s favorite spicy wings are going to make BTS sweat like that. As announced Sunday (April 5), the Bangtan Boys will be the next guests on Hot Ones, with all seven members set to appear alongside host Sean Evans to tackle the web series’ famous “wings of death.”

The show revealed that the members of BTS would be making their debut by sharing a video of Evans sitting at an unusually large table on the Hot Ones set, which usually hosts only one celebrity at a time. “This week’s guests on the season finale of Hot Ones, they flew all the way across the world to be here at this table,” the host begins.

“And while we’re on the topic of tables, it’s the largest one this studio has ever seen,” Evans continues. “We’ve got seven chairs, seven sets of wings. Including me, that is 80 wings on the table, a Hot Ones record.”

The clip then shows a barrage of social media posts from ARMY requesting that BTS appear on the show before cutting to a camera pan of the backs of all seven guest chairs, designated by name tags for each of the band’s members: RM, j-hope, Jin, SUGA, V, Jung Kook and Jimin. “It’s gonna be dynamite,” Evans concludes, referencing a couple of BTS’ hits. “Smooth like butter.”

Fans will have to wait until the episode drops at 11 a.m. ET on Thursday (April 9) to find out how well each of the seven members fares against Hot Ones‘ curated platter of increasingly spicy chicken wings. That same day, the band is set to kick off its world stadium tour in support of new album ARIRANG, which just notched its second consecutive week at No. 1 on the Billboard 200.

Watch the announcement for BTS on Hot Ones below.

For students and recent graduates trying to break into the music industry, internships remain one of the clearest entry points. Competition is high, and much of the advice students encounter tends to be outdated or overly generic, leaving many unsure how to approach the process today.

As a college senior preparing to enter the workforce myself, I wanted to understand what factors can help a student or recent graduate get their foot in the door. What do people inside the industry notice? Where do applicants go wrong? And what does “standing out” really mean at the intern level?

“Last year, we had over 55,000 applicants for about 100 spots in our internship program, so you have to find a way to stand out beyond just a passion for music,” says Nicole Candon, head of talent acquisitions at Spotify. “Relentless curiosity, sound judgment and being fascinated with where technology, creators and the music industry are heading is what sets candidates apart.”

I spoke to executives, managers and early-career professionals across labels, management and streaming companies to figure out what it takes to get noticed and eventually advance up the career ladder. Check out my main takeaways below.

Reliability and curiosity matter more than perfection

“The interns who succeed are reliable, proactive and genuinely curious,” says Stephanie Mahler, former senior vp of artist relations & brand development at Warner Music Group. Mahler has worked closely with interns throughout her career, and when asked what distinguishes those who succeed, her answer focused less on credentials and more on how people show up.

“They take the unglamorous work seriously, ask thoughtful questions and learn fast,” Mahler says. “More than any specific technical skill, it’s the combination of work ethic, emotional intelligence and a willingness to be helpful that sets people apart.”

In an industry where teams are often stretched thin, interns who can be trusted with small but essential tasks tend to earn more responsibility quickly. At this level, success has very little to do with prestige and everything to do with consistency. Mahler also stresses that many students underestimate how much of the music business happens behind the scenes.

“Music is still a relationship business, but it’s also deeply operational,” she says. “There’s a lot of behind-the-scenes work that powers the creative side: data, platforms, contracts, strategy. Understanding how all those pieces connect is just as important as having good taste or cultural instincts.”

For interns, that means paying attention not only to what they’re asked to do, but why they’re doing it, and how their work fits into a larger system. Understanding the mechanics of the business can be just as valuable as proximity to artists or releases.

Do your homework, then do more

Eric Sherman, managing partner at Second Generation Music and Talent Management, says one of the biggest mistakes he sees from aspiring interns is a lack of preparation. “The music industry evolves very quickly,” Sherman says. “There are so many different types of companies in the industry, and it’s really to your benefit to do a ton of research before you apply anywhere.”

That research needs to go beyond a company’s social media presence. “Walking in with a proper understanding of which company you’re looking to work for, what they actually do and how they fit into the industry matters,” he says.

Sherman also notes that internships today look very different than they did even a decade ago. “Internships used to be much more freeform; they weren’t as regulated,” he says. While that shift can feel limiting, Sherman doesn’t see it as a reason for discouragement. Instead, he says the added structure makes it even more important for candidates to be informed and clear about what they want to learn.

“Think about the area of the industry you’re most interested in,” he advises. “There are so many different kinds of music companies, and doing the research helps you figure out where you’ll actually learn the most.”

Given the speed of AI developments, Candon suggests showing “passion through action” and experimenting with emerging technology and bringing fresh perspectives on how to better serve artists, creators and fans. “Show us how you’ll help shape the future of audio,” she says.

Networking works best when it’s genuine

Both Mahler and Sherman emphasize that networking still matters, but only when it’s approached thoughtfully.

“Networking is still incredibly important, but it works best when it’s genuine,” Mahler says. “Real relationships are built through curiosity, consistency, and follow-up often matter as much as formal applications.”

Sherman stresses the importance of clear communication. At the intern level, that often shows up in small moments, a clear follow-up, a thoughtful question, or the ability to communicate interest without overselling yourself.

Don’t ignore the unglamorous work

While the spotlight tends to highlight the most exciting parts of the industry, the real learning often happens elsewhere: “One common misconception is focusing only on the ‘cool’ parts of the job,” Mahler says. “Early on, the unsexy tasks are where you earn trust and learn how the business actually works. Another mistake is underestimating how small the industry is. How you show up, communicate and treat people really matters.”

Understand what hiring managers actually look for

At the application stage, expectations are often lower, and also more specific, than students assume. One senior early-career hiring leader at a major music company says that internship résumés are not evaluated for depth of experience.

“For the resume, we’re not focused on experience — it’s an internship, so we understand that these are people who don’t have work experience,” the person says. “What’s most important is that it’s complete, easy to read and free of spelling errors.”

The emphasis tends to fall on written application responses, where candidates are asked to explain why they want the internship and why a particular company makes sense for their goals.

Competition remains steep. Summer recruiting cycles, typically the busiest, can draw several hundred applications at major music companies, with additional volume during fall and spring programs. In that environment, clarity, focus and intention become key differentiators.

Professionalism over fandom

One consistent theme hiring leaders point to is the importance of approaching internships as professional opportunities rather than fan experiences.

“It’s important they don’t approach it as a fan,” one hiring manager says. “If they approach it as a fan, they’re going to lose credibility.”

In practice, that distinction shows up early — in how candidates communicate, how they describe their interest in a role and whether they demonstrate an understanding of the work itself rather than just excitement about the industry.

That reality is something Jasmine Nhan, an early-career operations specialist at Sony Music Entertainment, experienced firsthand: “The early days weren’t glamorous, mostly manual work, little guidance and feeling invisible,” she says. “But showing up consistently, staying professional and pushing through the discomfort is what ultimately earned me a seat at the table.”

As a college student, Nhan applied broadly across fashion, music and adjacent industries while working in food and beverage to support herself. After months of automated rejections, her break came unexpectedly.

“If there’s one realistic piece of advice I’d give to someone trying to land an internship now, it’s to always be prepared with your elevator pitch,” she says. “You never know who you’re talking to or where a casual conversation might lead.

“Relationships matter just as much as résumés,” Nhan adds. “Visibility matters more than perfection, and resilience is non-negotiable.”

What it comes down to

There’s no single formula for breaking into the music industry, and no guarantee that one opportunity will lead directly to another. But those already inside it point to the same fundamentals: preparation, curiosity, professionalism and how you show up when it counts. At the intern level, it often comes down to small things — following through, asking thoughtful questions and being someone others can rely on. In an industry built on relationships, those early impressions tend to stick.

While the path may look different for everyone, the common thread is consistent: The people who move forward are the ones who stay engaged, keep learning and show up, even when no one is paying attention yet. As Candon puts it: “Remember, an internship is your starting line — for us, it’s a direct pipeline to our early-career roles and programs. Treat it that way by saying yes to opportunities and by being an avid team player. That’s how you turn a summer internship into a career.”

There are three kinds of fans at Ricardo Arjona’s concerts: There’s the 25-40 year olds who scream at the top of their lungs, hold up signs with personal love notes and sing along to every word. Then, there’s their mothers, most of them in their 50s and 60s, singing along with their daughters, also on their feet, but far more composed, although they often cry.

And then there’s the men, most in their 30s. They stay seated, but they lean forward, raptly taking in every note, quietly and loudly mouthing the words. They’re outnumbered by the women, roughly 10 to 1 — but given Arjona’s capacity to move masses, their numbers aren’t negligible.

Tonight, Arjona will play the fourth of an astonishing five sold-out shows at Miami’s Kaseya Center as part of his “Lo Que Dijo El Seco” tour, adding up to nearly 70,000 tickets sold in a single city. It’s not his only multi-stop in a single place.

Between May and June, following arena stops in five other U.S. cities and three sold-outs at Coliseo de Puerto Rico, the Guatemalan singer/songwriter is slated to perform 13 dates at Movistar Arena in Buenos Aires, 10 at Movistar Arena in Santiago de Chile and five in Bogotá. All runs are already fully sold out. Counting upcoming stadium stops in Mexico, Arjona will easily sell over 1.8 million tickets before the end of the year, according to concert promoter Marcelo Figoli of Fenix Entertainment.

In an era where streaming algorithms favor facile reggaetón, Arjona is a complex wordsmith whose songs demand multiple listens, but who nevertheless sells tickets at a pace that dwarfs that of most younger billion-streamers. Live, his shows have long been dazzling, yet earthy. This time around, he has a 10-piece band (shout of to the outstanding pianist who can traverse blues, soul and Latin) — plus himself on guitar—playing in front of a tall, five-panel set that begins in a Parisian street and evolves to Arjona’s Guatemalan streets for classics like “El taxi.”

Granted, legacy artists of all genres with strong chart histories tend to be big concert draws. But in the Latin realm, Arjona stands alone as a traditional pop/rock singer/songwriter who pens all his songs and sings of topics ranging from love to social turmoil and sells out massively across continents. While not a traditional balladeer, he’s a commanding, swaggering figure onstage who likes to blend music with personal storytelling and who loves to interact with the audience from the stage. Yes, other singer/songwriters of his elk tour successfully, but none to this level.

In fact, everything about Arjona bucks trends. In his long career, dating back to the late 1990s, he’s placed nine albums on the Billboard 200 and 23 on Billboard’s Top Latin Albums, including 15 top 10s and five No. 1s. Roughly half of those have been as an indie on his own Metamorfosis label, which he launched in 2011 (with the No. 1 album Independiente) and is currently distributed by Interscope.

Although he often invites rising singer/songwriters onstage with him (Thursday in Miami he hosted Elena Rose and Ronkalunga), Arjona rarely collaborates with others in recordings, he has never done a reggaetón track, rarely does press, has never appeared in a mainstream late-night show and doesn’t seem to be at all interested in the mainstream acceptance other Latin artists crave.

This, despite the fact that his daughter is rising film star Adria Arjona (“Hit Man,” “Blink Twice”) currently dating Jason Momoa (meaning Arjona could gather easy mainstream interest). Call him a curmudgeon with hundreds of thousands of friends who are willing to pay for the privilege of his company.

In fact, Arjona doesn’t have a manager, or even have a booking agency; in terms of touring, he works directly with Figoli, who books him globally.

You could argue Arjona’s success hinges on the fact that he keeps such a tight rein on his music and his business. But really, it goes back to his uncompromising approach to his songs. In the past decade, many extraordinary legacy acts have buckled under the pressure of streaming requirements, putting out music fast and furious, pairing up with whoever remotely makes sense in terms of gathering more streams. Arjona has stayed his course, largely recording solo, and his fans find him.

In Miami, they sang along to the old hits but also to the new. The two women behind me were mother and the daughter; the latter, approximately 30 years old, said she grew up listening to the Arjona albums her mom played. As soon as tickets for his shows went on sale, she made the virtual line for hours to snag four second-row premium seats.

The woman in her 30s beside me was Cuban-born and raised. “He sings about everything we care about,” she said, holding up a sign that read, “You can call me señora,” a reference to Arjona’s hit “Señora de las cuatro décadas” (Lady of the Four Decades), an ode to cougars before the term entered pop culture. The guy beside me, also in his 30s, was sitting with his girlfriend, which automatically led me to believe she was the fan. Not so. “He’s a far a bigger fan than I am,” she told me. 

He nodded gruffly, then went back to his laser focus on the stage. This was Arjona, after all. There wasn’t a word to be missed.