Ava Max‘s new album Don’t Click Play is arriving this summer. The set, featuring lead single “Lost Your Faith,” will be her third full-length album.

Max unveiled the album’s release date and its cover art on Thursday (May 1). Pop fans will be able to click play on Don’t Click Play on Aug. 22.

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The album cover features Max handling the heat in a triangle of fire, her hands grasping edges that are going up in flames — perhaps serving as a visual of the fire-emoji vibes she hopes listeners will feel when they do click play. The triangle is in the form of the familiar symbol that’s recognized as a play button.

She’s dabbling in the art of reverse psychology with this album cycle. Last month, the singer led folks to the website DontClickPlayOnAvaMax.com, which under the guise of an online petition actually teased an unreleased track. She also shared a photo of a roadside “Don’t Click Play on Ava Max” billboard.

With Max’s album reveal on X on May 1, she also played on Atlantic Records labelmate Ed Sheeran’s Play album announcement, quoting his HQ account’s post from the same day; both announcements, of course, made use of the handy play button icon.

Don’t Click Play is the follow-up to 2023’s Diamonds & Dancefloors (which reached No. 34 on the Billboard 200 albums chart) and 2020’s Heaven & Hell (Max’s debut LP, which peaked at No. 27 and included breakthrough single “Sweet But Psycho,” a Top 10 hit on the Hot 100 in 2018).

In case you missed it, watch Max’s music video for Don’t Click Play‘s “Lost Your Faith” below.

Pop superstar Kylie Minogue capped her first arena tour of the United States and Canada on Friday night (May 2) as her Tension Tour touched down in Los Angeles at Crypto.com Arena.

“Good evening, Los Angeles! We are here!” the ever-gracious performer exclaimed to the packed house early in the evening. “Thank you so much each and every one of you for coming out tonight, and welcome to the Tension Tour.”

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While the two-hour show took fans on a journey through four decades of Minogue’s hits, it also highlighted eight songs from her two most recent studio albums, Tension II (released in 2024) and Tension (2023). Among those choice cuts were Tension’s Grammy Award-winning “Padam Padam,” which was also a top 10-charting hit on Billboard’s Hot Dance/Electronic Songs chart in 2023, and the show-opening “Lights, Camera, Action” from Tension II.

The Tension Tour is just the third traveling show Minogue has brought to the U.S. and Canada, having previously visited the country with Aphrodite Live in 2011 and the KYLIE trek in 2009, with both staged before more intimate crowds as compared to the arena-sized audiences of the Tension Tour. Separate from her three tours, Minogue also mounted her first Las Vegas residency in 2023-24, with 20 dates at the 1,000-seat capacity Voltaire at The Venetian Las Vegas.

The Tension Tour kicked off on Feb. 15 in Perth, in Minogue’s home country of Australia, moved to Asia for a trio of dates (March 10-15) and then reached North America on March 29 in Canada. For the U.S. and Canada run, the Tension Tour played 16 shows between March 29-May 2, including a pair of nights at New York’s Madison Square Garden (April 4-5). The trek now moves to Europe on May 16, then to South America on Aug. 7, and then back to North America for its three final dates in Mexico (Aug. 22-26). By the close of the Tension Tour, Minogue will have played nearly 70 shows in more than 25 countries on five continents.

At one point during the Los Angeles show on Friday, Minogue paused and reflected, “Here we are in 2025 and I get to be on a world tour with these beautiful humans, beautiful intelligent humans — the ones you can see on the stage and off stage. And I get very emotional thinking about this, this… that I’ve… it’s been a lifetime and sometimes it just amazes me. So very, very grateful. Thank you so much for being here.”

That “lifetime” of a musical career was on display through the show, with Minogue offering up a bevy of hits like her first single, the 1987 cover of “The Loco-Motion,” along with “Better the Devil You Know” (1990), “Spinning Around” (2000, and joined onstage by the show’s opening act Rita Ora), “Can’t Get You Out of My Head” (2001), “All the Lovers” (2010) and many more.

Before the final song of the night (“Love at First Sight”), a joyful Minogue shared a message with the crowd: “You’ve been beyond tonight. You’ve been here, present, ready, going — thank you so much for being here, for your beautiful energy, for being here for me in all different times of my career. For being there for each other! I just want to give a real shout-out to our entire crew because this has been an incredible run. We’ve loved it, so thank you.” After a moment of applause from the crowd, she then humorously added, “I’ve got some old friends here tonight. Look at me now!”

Although the ceremony for the 2025 ACM Awards is still a few days away, Ella Langley and Riley Green are early winners for their breakthrough hit “You Look Like You Love Me.” The surprise was revealed while the pair were on stage at Country Thunder in Tampa, Florida, Friday night (May 2) — with the reveal coming from none other than country icon and 18-time ACM Awards host Reba McEntire.

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A special video from Reba, in which she congratulated the two artists as winners of this year’s award for visual media of the year (for their “You Look Like You Love Me” music video), played during Green’s set at the festival on Friday. Langley receives honors for both artist and director in the category.

“Sorry to interrupt, but I have some big news,” Reba teased in the clip that announced their win. “Congratulations to Ella and Riley! Can’t wait to celebrate with you both in Frisco!”

Langley learned of her first Academy of Country Music award just a week ago, during her set at Rock the Country in Knoxville, Tennessee.

News of that first win — for new female artist of the year — arrived courtesy of friend and co-writer Miranda Lambert via video message. (Lambert, who called Langley “my soul sister in country music and a partner in crime,” was named winner in the same category 18 years ago.)

Langley’s the most-nominated artist at the 60th ACM Awards.

With two awards to her name already, several remain up for grabs for the singer-songwriter at this year’s ceremony: female artist of the year, plus single of the year, song of the year and music event of the year (all for her “You Look Like You Love Me” duet with Green). For song of the year, the two are nominated as both artists and songwriters.

The twangy, flirty barroom duet, released in 2024, made it to No. 1 on Billboard’s Country Airplay chart, No. 7 on Hot Country Songs and No. 30 on the Billboard Hot 100.

The 2025 ACM Awards will stream live globally on Prime Video and the Amazon Music channel on Twitch on Thursday, May 8 at 8 p.m. ET / 7 p.m. CT / 5 p.m. PT from the Ford Center at The Star in Frisco, Texas. Expect to tune in for two-and-a-half hours to catch the full show.

The Academy of Country Music Awards is the longest-running country music awards show, with its inaugural year being 1966.

The ACM Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.

Fat Joe is mourning the loss of his mother.

On Saturday (May 3), the 54-year-old hip-hop icon shared a heartfelt tribute on social media honoring his mom, Marie Del-Carmen Cartagena, who passed away at the age of 77.

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“This a real one, rest in peace to the woman who brought me in this world,” Joe wrote on Instagram alongside a slideshow of family photos. “She didnt have much but she gave us everything.

In the emotional post, the Bronx-born rapper reflected on his mother’s deep love for her family and unwavering commitment to her community.

“Anyone who knows my Mom knows she had a heart of gold, she refused to move out the projects for many years even though i had money,” he wrote. “She loved her community, she loved her people,Ms Ruby the Terror Squad Queen. she was sooooooo proud of us meaning everyone in the crew.”

Joe also shared that his mother died of a “broken heart” following the recent death of his father, Ernesto Delgado, who passed away earlier this year at age 89. The couple had been married for 60 years.

“I tried everything humanly possible,” he continued. “She was happy, to the Castro family, the Cartagena family, the Delgado family i love you and thank you for the outpouring of love.”

Joe concluded the tribute with a touching message to his late mother. “Mommy till i see you again you were my world, my heart, my everything. I’ll continue to make you proud,” he wrote.

The hip-hop community quickly rallied around Fat Joe, offering words of comfort and support in the comments.

“Rest peacefully Beautiful Queen,” Busta Rhymes commented in the post. Questlove added, “Condolences Joe,” along with a prayer hands emoji. And Ja Rule echoed the sentiment, commenting with prayer hands and dove emojis.

See Fat Joe’s full tribute to his mother on Instagram here.

Rema‘s 2022 debut album, Rave & Roses, spun out the biggest Afrobeats crossover hit in U.S. history (the Selena Gomez-assisted “Calm Down”), and just three years later, the Nigerian superstar has cemented his place in the genre’s Big Four with a fiery, high-octane Madison Square Garden debut in New York City on Friday (May 2).

Named for Heis — his 2024 sophomore LP, which earned him his first Grammy nod for best global music album — Rema’s Heis World Tour is a towering statement of what an impressive career and catalog the 25-year-old visionary has built for himself since exploding onto the scene with 2019’s “Dumebi.” While that early-career hit was saved for later in the night during Friday’s concert, Rema, dressed in a massive fur overcoat and wielding a machete atop a levitating platform, kicked off his headlining set with “March Am,” Heis’ introductory track.

“I wanna introduce to you a man, a myth, a legend,” a faceless announcer declared over brooding, cinematic drums reminiscent of the ones that define the soundscape of Heis. “He goes by many names! He is… Prince of Afrobeats, Rema!” This lead-in may have felt a bit overblown for other artists, but Rema spent the next hour-and-a-half proving why he’s worthy of such an effusive intro. Fellow Heis cuts “Azaman” and “Yayo” followed, keeping the crowd’s energy consistent for the show’s first act before the first of several interludes that chopped up the setlist’s flow.

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The concert’s setlist was loosely organized by theme and tempo. What it lacked in continuity, Rema more than made up for with the sheer number of hits he played. A cheeky kiss-cam introduced a mellower, heart-eyed segment featuring cuts like “Favorite Girl” (with Darkoo) and “Soundgasm”; “Calm Down” made for a classic arena sing-along moment, and newer drops like “Bout U” and “Baby (Is It a Crime)” allowed Rema the space to show off both his sultrier R&B side and his swaggering rock edge.

Though his stage was equipped with a sizeable walkway, Rema performed the bulk of his set’s most intense moments atop what appeared to be an entrance to some sort of dungeon. That blocking worked for the show’s overall aesthetic, but it likely would have made for an even more thrilling performance if he hit the night’s most energetic moments closer to the crowd. Nonetheless, from a recreation of the “Charm” music video to the smart additional harmonies sung by his female background singers, the raucous energy of Heis found subtle complements in the pockets of feminine energy that decorated the show.

From surprise guests to eyebrow-raising statements, here are the five best moments from Rema’s Heis Tour stop at New York City’s Madison Square Garden.

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Instead of having tons of photos and memories stuck to your fridge, this tech-savvy magnet from Gaeshmide allows you to display up to nine photos — and it even plays the song of your choice. It’s definitely the best way to commemorate a night at a concert or a fun, affordable Mother’s Day gift.

This magnet is the perfect way to display multiple photos in a way that is as cute as it is functional. At 3.86 by 3.86 inches, it is great for those that need to condense their collection of photos, and it allows you to choose how they are displayed. It also allows you to choose a song, which you can play by simply pressing a button built into the magnet itself. At $19, it would be a great way to integrate customization into a thoughtful gift, or to save display space on your fridge.

Custom Music Fridge Magnet

Gaehsmide Custom Music Fridge Magnet


Since it plays music, it is conveniently rechargeable. A USBC charging cable is included, and provides the magnet with up to three hours of play time, which is the equivalent of playing a song once per day for an entire month. The sound itself is incredibly clear, especially for the compact size of the magnet.

You can choose between a few different photo formats, some of which feature graphics or collages that would be ideal if you’re creating it to showcase a special date or series of memories. Most of the options are in the shape of a tile, however you can also opt for a heart-shaped option for a little extra cute-factor. The magnet is also incredibly strong, so it would be a great choice for lockers due to its durability.

At only $19, it’s a great option for those hoping to truly customize a gift. Whether you’re shopping for someone special or just hoping to reorganize your photos, it’s sure to be a newfound staple in your home. Shop below.

Billboard Canada is getting ready to spotlight some of the most vital players in the music industry: music managers.

Managers to Watch — Billboard’s spotlight on the teams behind music’s biggest breakout artists — will expand to Canada for the first time at this year’s NXNE festival.

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A special invite-only Managers to Watch reception will take place on June 11, directly before Billboard Canada Power Players. The event will build on Billboard Canada’s new partnership with Music Managers Forum, which is moving its Honour Roll celebration of the most legendary managers in the business to NXNE this year.

Both recognitions will be given out at the Managers to Watch reception, after which all invited managers will be invited to stay and mingle with the most influential members of the industry at Billboard Canada Power Players.

The event will foster community and opportunity for self-managed artists and managers, who play a critical role in the success of Canadian artists on the international stage.

“We’re proud to partner with MMF Canada to spotlight the managers powering the next wave of talent,” says Mo Ghoneim, president of Billboard UK and Billboard Canada. “They’re key players behind many of the industry’s biggest breakthroughs, and we’re excited to recognize their contributions on a global stage through Billboard.”

The Music Managers to Watch list will feature a hand-selected list of artists and self-managed artists making waves in the industry. It will be chosen by the editorial team at Billboard Canada. Managers can submit for consideration using this form.

Find more info here. – Richard Trapunski

CIMA Makes an Appeal to Prime Minister Mark Carney

The votes were still being tallied in the Canadian federal election on Monday morning (April 29) when the Canadian Independent Music Association (CIMA) sprang into action. The trade org issued a press release congratulating Mark Carney and the Liberal Party of Canada on their electoral victory while urging Carney to, in its words, “make the investment in and promotion of Canadian-owned cultural businesses a top priority.”

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The statement stressed that “the global cultural economy is changing rapidly, and with it come significant risks to Canada’s cultural and economic sovereignty. Recent developments — including TikTok’s decision to walk away from licensing negotiations with Merlin, a key representative of independent music worldwide; Universal Music Group’s acquisition of Downtown Music’s assets; and the legal challenge by global tech platforms, in partnership with foreign-owned multinational record companies, to avoid regulation under Bill C-11 — starkly illustrate the growing concentration of global corporate power in Canada’s cultural sector. If left unchecked, these trends threaten to erode Canadian ownership of intellectual property, diminish our global competitiveness, and compromise the future of Canadian cultural exports.”

CIMA emphasizes four priorities for the most industry and suggests the government act quickly:

  • Prioritize Canadian ownership in cultural policy and investment frameworks;
  • Strengthen competition, trade, and copyright policies to protect Canadian IP holders;
  • Champion independent Canadian businesses in international markets;
  • Defend Canada’s right to regulate its cultural industries against multinational corporate resistance.

CIMA concluded by noting, “We are eager to work with your government to secure a strong future for Canadian culture — Canadian culture remains Canadian-owned, Canadian-created, and world-renowned.”

Read more here. – Kerry Doole

Black Eyed Peas’ Apl.de.Ap and Other Lapu Lapu Day Festival Performers Speak After Van Attack in Vancouver

Artists are sharing their heartbreak after a deadly attack at Vancouver’s Lapu Lapu Day festival.

The attack killed 11 people, leaving dozens more injured, when an SUV drove through the block party on Saturday (April 26.) A 30-year-old man has been charged with eight counts of second-degree murder.

Organized by Filipino BC, the festival is a celebration of Filipino hero Datu Lapu-Lapu and an annual occasion for the Filipino-Canadian community to celebrate resilience and cultural heritage.

The attack took place in the evening, following a day of performances from artists like The Black Eyed Peasapl.de.ap (the Filipino-American artist also known as Allan Pineda Lindo), multi-disciplinary artist Kaya Ko and R&B singer Sade Awele. Festival performers are sharing messages and calling for support for the B.C. Filipino community following the attack.

Apl.de.ap and Filipino singer J. Rey Soul had recently left the stage after finishing their headlining set when the attack took place.

“It’s hard to describe the shock and heaviness we feel,” they shared in a joint statement on social media. “Please keep the victims, their families, and the organizers in your prayers.”

“The one thing I have noticed, from the audience to the messages sent around, is the sense of community that wraps its loving arms around us.”

Festival chair RJ Aquino spoke about the support that’s been pouring in from around the world.

“It’s not lost on us … that the spirit of the festival was about that resistance, resilience, that courage, that strength,” he told reporters, per CBC.

“And you know, we’re going to have to call that up in ourselves.”

Awele shared her prayers for the B.C. Filipino community on Instagram. “I was barely able to sleep thinking about the tragic incident that occurred after the festival,” she said. “We can’t keep living like this — treating each other with hate and violence. We have to do better.”

Read more here. – Rosie Long Decter

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

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

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

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

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

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

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

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

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

Billboard Market Share
Billboard Market Share
Billboard Market Share

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

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

FIFTY FIFTY:

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

Keep watching for more!  

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

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

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

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

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

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

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

You can check out the full episode below.