KATSEYE is taking EYEKONS to etiquette classes, and the first rule we’re learning? Pinkies up.

The HYBE K-pop girl group announced new single “Pinky Up” via a series of social media posts. The first arrived Monday (March 30). It was a cryptic video featuring the Mona Lisa bringing a piping hot cup of tea up to her mouth — pinky up, of course. The next came Tuesday morning (March 31), this time featuring an arcade claw machine with “KATSEYE” emblazoned across the top as the claw pulls out a sword from the midst of blinged out stuffed animals and a singular tea cup. What may be a hint to some of the song’s lyrics, the caption for the reel says, “We’re screaming from cloud nine!!”

The third post confirmed the arriving single and its artwork, featuring someone kneeling on a carpet behind with a tea cup on a saucer and a toy cat, and the title of the song across the front in hot pink lettering. The caption reads “PINKY UP SINGLE RELEASE” as well as the release date and time, April 9 at 9 a.m. PT/12 p.m. ET.

“Pinky Up” comes out just in time for KATSEYE’s Coachella debut on Friday (April 10). The single will also be the band’s first new work since record labels HYBE and Geffen announced last month that member Manon Bannerman would be taking a break from the group. Since Manon has stepped back, KATSEYE has continued their previously scheduled appearances, including performances at Lollapalooza Argentina and Lollapalooza Chile. On March 24, the band was announced as the headliner for the 2026 Head in the Clouds Music & Arts Festival, to take place on Aug. 8 in Passadena, Calif.

See KATSEYE’s posts about “Pinky Up” below:

oui oui 🫖 pic.twitter.com/9256HraLhb

— KATSEYE (@katseyeworld) March 30, 2026

we’re screaming from cloud nine!!
PINKY UP | APRIL 9 | 9AM PT | 12PM ET

pre-save PINKY UP: https://t.co/KIifhJPoCq#KATSEYE_PINKYUP #KATSEYE #PINKYUP pic.twitter.com/4WT8CFYOQp

— KATSEYE (@katseyeworld) March 31, 2026

PINKY UP SINGLE RELEASE
APRIL 9 | 9AM PT | 12PM ET

pre-save PINKY UP: https://t.co/KIifhJPoCq#KATSEYE_PINKYUP #KATSEYE #PINKYUP pic.twitter.com/cPrxZ3Py2e

— KATSEYE (@katseyeworld) March 31, 2026

This week, Billboard is publishing a series of lists and articles celebrating the music of 20 years ago. Our 2006 Week continues here with the MC whose dominant 2006 run defined the year in rap: T.I., who topped the Billboard 200 with his King album, had smash hits with Justin Timberlake, Young Dro and on his own, and even invaded the multiplexes in ATL.

T.I. keeps coming back to a fitting Jean-Michel Basquiat quote: “Art is how you decorate space, music is how you decorate time.”

The trap pioneer doesn’t reflect on his Hall-of-Fame career often, but he’s looking back with Billboard on the 20th anniversary of his massive 2006 King album during a mid-March trip to NYC’s famed Quad Studios in the heart of Times Square.

With an immovable chip the size of State Farm Arena on his shoulder, Tip delivered on his King of the South proclamations with King, which toppled the Billboard 200 with 522,000 first-week units earned upon its March 28, 2006 arrival and notched his first solo top-five hit with the cinematic Grammy-winning single “What You Know” (No. 3 peak).

Long nights in the studio were followed by longer days on set. T.I. made his feature film debut in ATL, which hit theaters just a few days after King was released.

Tip proved himself in a lead role on the silver screen while serving up Atlanta culture to the masses, and the coming-of-age comedy-drama also introduced the world to Lauren London, who played T.I.’s love interest, New New, in the movie.

“It doesn’t take long to see how much of a serious artist she is,” Tip gushes of London. “She’s a perfectionist and she just has the stuff. She’s very driven. She knows what she wants and how she wants herself to be presented.”

T.I. continued his ’06 pop-culture dominance with a crossover assist on Justin Timberlake’s techno ballad “My Love,” which marked Tip’s first collaboration with JT and Timbaland behind the boards. “He had a lot of soul for a white guy,” he quips of Timberlake.

“My Love” reached the Billboard Hot 100 summit in November 2006 and held the top slot on the elusive chart for three weeks, giving T.I. his first No. 1 hit.

Rocking a snakeskin jacket and an Atlanta Braves fitted cap with the signature T.I. tilt seen on the King cover art, take a trip down memory lane with Tip talking all things King, ATL, leaving the drug game behind and the tragic loss of his close friend, Philant Johnson.

When you hear 2006 and look back at your career, how do you feel about it?

When I think about 2006, I think that it’s crazy that it’s 20 years ago. It’s wild to think that so much has happened in what feels like such a short period of time. 

When you were going into King, did you feel like you had to deliver and prove you were the king of the South?

Well, first of all, the album King is widely assumed to be about me — King of the South — but it’s actually named after my son, King, right after he was born. I still felt like I needed to deliver. 

You kicked off the year with The Leak with DJ Drama. Was there a bunch of your music leaking?

The songs leaked and so we decided to get ahead of it and put the songs that leaked, along with a few others from the project out. It seemed like it worked. 

What do you remember about the recording process for King? What was inspiring you at the time?

One thing I can recall more than anything was recording after getting off the set from ATL. Having long skate practice days and long days on set shooting and then having to go record. 

Was it important to prove yourself in Hollywood and prove you could do music and film at the same time?

I’ve never been real keen on proving myself. I don’t really need validation from humans. My blessings come from God. I say I’m the s–t because all it takes is me and God to say I am. Anyone who disagrees is the ones out the loop. 

So that was something you wanted to accomplish yourself?

I really wanted to impress myself. I want to make my children and my family proud. I want to create opportunities for the people around me. Everything else is just noise. 

Were you trying to give people a certain interpretation of Atlanta, and how life was at that point?

We were painting a picture. We were displaying our culture for the world to see and that was the first film that was shot in Atlanta and for Atlanta probably since [1975 crime comdy] Let’s Do It Again. That was the first time since then that Atlanta has been presented and showcased to the world. 

I think ATL was the first time I found out who Lauren London was. Did you know her before that?

I didn’t, she just got cast as New New. I didn’t know who she was. She’s just a cool girl, very respectable and no nonsense. She’s very positive. We clicked immediately. 

Did having a successful film open doors for you and give you access to other opportunities?

It opened doors, especially in film. I think ATL opened the door for me to have the opportunity to do American Gangster. 

How did you assemble such a star-studded group of producers? You had Manny Fresh, Just Blaze, Swizz Beatz, Toomp and even Travis Barker on King. I don’t think many rappers from the South were getting Just Blaze and Swizz Beatz on their albums.

These were just relationships I had nurtured over time. Any time I work with somebody, it’s as simple as picking up the phone and asking them, “Let’s get in.” Most times, they oblige. It’s a blessing to be able to have such worthwhile relationships. 

Last time I interviewed you, you said you knew “What You Know” was a hit in the studio right when you recorded it. What do you remember about that time?

I did. I just remember as soon as the beat played, I immediately recalled the words coming to me and I knew what to do. I just went right in and that’s a good sign. 

“What You Know” entered the Hot 100 at No. 3 for your first solo top-five hit. Did the charts mean anything to you back then?

I can’t say I felt that way then, but this is how I feel now. I didn’t really pay attention to it until it hit No. 1. If the song ain’t No. 1, I’ll hear about it — and then it will be in one ear and out the other — but once it gets to No. 1, that’s when I’m paying attention to it. 

I read you recorded over 70 tracks for King. What do you recall about that process of whittling it down to less than 20?

I just know that the sequencing process is always rigorous. It’s always something that takes time. I always have a much longer list than everyone else. Another thing is, I always feel that more songs lead to a more impressive album. Most people feel the exact opposite.

Yeah, if I can get those really good 12 to 14 songs and every single one takes me on that journey. 

What if you can get 20 to take you on that journey? I think 20 is cool. 

Listening back, I feel like [rap] music had a slower pace and songs had three verses and nowadays the game is so different. 

We’ve been conditioned and indoctrinated with a cyber-sense of how to consume music. 

What do you remember about recording “I’m Talking to You?” I thought that was a unique way to construct a diss track.

It wasn’t a diss track. I was probably just trolling. If you could cast a wide net on a diss track and kinda talk to everyone that’s talking about you. 

That’s why I thought it was unique, you’re not mentioning the names of the people you’re negatively talking about. 

I was tweaking back then. It was fun. I think people had a lot of fun with who I was talking about. I was really just trying to create conversation. Mission accomplished.

How’d it feel to earn your first No. 1 album and move over 500,000 [units] first week?

I felt phenomenal about it. It was a surreal moment [for me]. 

Did you feel like you were at the peak of your powers?

I did, until I found there was a new peak. Right now [is my peak]. Right now, for me to go away and take a hiatus for so long and re-establish myself the way [I’ve] done, that to me feels special. 

I was reading Jeezy’s book last year and he recalled an important conversation where you told him, “You can’t do the street s–t and the rap s–t.” He thought you were tricking him. Do you remember that?

The conversation did happen. I made a conscious decision to step away from the streets as soon as I knew I had an opportunity to do the rap s–t for real. This was right when I was getting signed before the first album. I went to L.A. with Outkast, Goodie Mob, Dungeon Family, Cool Breeze and YoungBloodz and that was my first time in L.A., and my first trip in the professional music business. When I came home, I gave the rest of my dope away. I gave it to my partners, “I don’t want to do it anymore.” 

Did people think you were crazy to make that kind of play? How did you deal with that?

I ignored them. Your vision is your vision for a reason. When God calls on you for your purpose, it’s not a conference call. It’s you and him. I can’t wait on nobody else to have a positive opinion of my decision before I make my move. I had to do what I know in my heart that I’m supposed to be doing. 

How was linking up with Justin Timberlake for “My Love?” That was your first No. 1 hit on the Hot 100.

They just sent me the song and I immediately loved it. It might have been my first time doing something with Timbaland. So it was just a blessing to be part of such an incredible collaboration. It was very dope to see. 

Were you a fan of JT?

I really had a lot of love and respect for what he contributed to the game. I thought he was a dope artist in his time.

“Shoulder Lean” with Young Dro was another top 10 hit on the Hot 100 for you that year.

“Shoulder Lean” was a song I wrote for Dro to do the hook and he kept me on the hook. When I went in there and did it, I expected him to go in and redo it, but he never did it. 

What do you remember about the Grammys that next year, when you won your first two?

Not [much] really. I remember winning before the show started. So the rest of the night was just a blur. I wanted [to win] the best rap album because that was an on-camera moment. It went to Ludacris [for Release Therapy]. But for King to mean so much to so many and resonate is incredible. 

Also, later in that year, we lost your close friend Big Phil [Philant Johnson]. How was going from the highest of highs with your biggest album to having to deal with that tragedy personally?

It sucked, but those are the cards. Play the hand. Big Phil’s daughter just became a doctor. We supported her through college and medical school. 

Do you see a throughline from King to what’s set to be your last album, Kill the King?

I think they’re both heavy on the self-affirmations. In my conversation, I maintain an extreme level of humility. In my songs, I do not. The glory should go to God; I’m just a vessel. It’s his show and I’m just acting in it. At the same time, can’t nobody f–k with me. 

Sum up your 2006 in one word.

Diverse.

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In trying to keep up with demand, No Doubt just added six new shows to their best-selling Las Vegas Sphere show.

The initial launch of tickets for shows sold out immediately, prompting the band to add six more dates to the original run of six nights at the iconic Sphere visible from the glitzy Las Vegas Strip. The stint will make singer Gwen Stefani the first woman to headline the 17,600-seat arena. New shows are set for May 21, 23, 24, 27, 29 and 30.

“The opportunity to create a show at Sphere excites me in a new way,” says Stefani in a statement. “The venue is unique and modern and it opens up a whole new visual palette for us to be creative. Doing it with No Doubt feels like going back in time to relive our history, while also creating something new in a way we never could have imagined.” The high demand for the show is largely due to No Doubt’s return to the music scene after the band, led by Stefani, broke up in 2010. Before they disbanded, the group found major success on the Billboard charts, topping the Hot 100 with tracks like “Underneath It All,” “Hey Baby” and “It’s My Life.”

Since opening in late 2023, the Sphere has hosted the likes of U2, Dead & Company, Eagles, Backstreet Boys and more. The arena is a 366-foot-tall and 516-foot-wide spherical entertainment venue with a 580,000-square-foot exterior LED display meant to give attendees an immersive experience from their seats with 360-degree views.

We’re willing to bet that these added dates will sell out just as quickly as the original six did, so you’ll want to jump on buying tickets while they’re available. You can buy tickets for the band’s Sphere show below. We’ve also included discount codes for those looking to save some cash on tickets.

Ticketmaster’s available seating for No Doubt’s Sphere stint are very good, but a bit pricy. If you’re willing to shell out for the best seats possible, the ticketing site should be your first stop. Lowest pricing for tickets on the site that we have seen $946.95, a hefty price to pay but well worth it to see the band, given they might not come back together again. Ticketmaster has a great fan guarantee that offers a full refund of a ticket’s price along with some service and upgrade fees, within 24 hours of purchase if an event is eligible. You’ll want to shop ASAP because the tickets are going fast.

No Doubt is back and StubHub is one of the places you can grab tickets. Right now, the ticketing website has pricing starting at $235, the lowest we’ve seen thus far. FanProtect Guarantee gives you the option to shop all dates with ease. The initiative ensures valid tickets every time, or your money back. If your event gets canceled and not rescheduled, you’ll be able to receive a credit worth 120% of the amount you paid for the impacted event. You also have the option of a cash refund.

You can use promo code BILLBOARD10 to receive $10 off at checkout now at Seat Geek. Like the other ticketing services mentioned on this list, Seat Geek includes a Buyer Guarantee, makes shopping for your perfect seat a breeze. As of press time, Seat Geek’s ticketing options for No Doubt’s show are rather pricy, so keep that in mind before adding to cart. With our code, however, that price will be a bit lower.

We’re helping you score the best seats to see No Doubt with Vivid Seats. You can use promo code BB30 to grab $30 off of your purchase on us. If you’re worried about something going amiss while you’re purchasing tickets, the service offers a 100% Buyer Guarantee, a safeguard that ensures your transaction is secure, that your tickets will be delivered before your event and that your tickets are valid.

You can now save big bucks on tickets with TicketNetwork by using our code BILLBOARD300 to save $300 off orders of $1,000, and BILLBOARD150 to save $150 off orders of $500. If you’re low on funds and can’t get the tickets you want right away, not to fret. You can purchase your tickets on the website now and pay later with help from Affirm. Our favorite feature of TicketNetwork’s website is all-in pricing, an initiative that lets you see exactly what you’ll be paying upfront, including fees. As of writing, TicketNetwork’s pricing for No Doubt’s concert tickets are going for $283 and up.

We love Gametime for the tickets, but its real-time visuals are really what steal the show. Every venue has a detailed map, giving you an in-depth view of seating options so you can pick the one that works best for you. Gametime also has guarantees for buyers, vowing low prices, event-cancellation protection, job loss assurance and on-time ticket delivery. All the things you’ll need for a great concert. Snagging tickets to your favorite artist’s shows has never been easier.

About No Doubt

No Doubt emerged from the ska and punk scene in Anaheim, Calif., in 1986, eventually becoming one of the defining pop-rock bands of the 1990s. The group is fronted by Gwen Stefani, with Tony Kanal on bass, Tom Dumont on guitars and Adrian Young taking drums. No Doubt’s breakthrough album, Tragic Kingdom, topped the Billboard 200 for nine consecutive weeks, catapulting the group to global fame. Over the course of six studio albums, No Doubt earned two Grammy Awards and nine nominations, including recognition for Tragic Kingdom in the best rock album category and “Don’t Speak” as best pop performance by a duo or group with vocals.

Following the band’s major wins, they went on an indefinite hiatus in the mid-2010s, although they have come together a few times over the years. Most notably, the band performed at the 2025 FireAid benefit concert in January, delivering a medley of some of theirTragic Kingdom hits to help raise funds for victims of the deadly Pacific Palisades fire.

Universal Music Latin America, a division of Universal Music Group (UMG), announced Tuesday (March 31) three new key executive appointments — all under the leadership of Jesús López, chairman and CEO of Universal Music Latin America and Iberian Peninsula. 

Alfredo Delgadillo has been promoted to CEO and president of Universal Music Latin Entertainment (UMLE), where he will oversee Universal Music Latino in the U.S. Based in Mexico City, Delgadillo, who was appointed president and CEO of Universal Music México in 2024, will continue to lead the label’s Mexican division and the música Mexicana label, FONO.  

“It is especially meaningful to begin this new chapter after many years working the Universal Music Latino roster: artists with a powerful presence in the market, from true legends to a new generation defining the future of music,” Delgadillo said in a press statement. “UMLE will continue to focus on strengthening collaboration between Mexico and the United States, further expanding Latin music and its culture around the world, and supporting our artists and labels to deepen their connection with fans while amplifying the global reach of their music and their message.”

Reinforcing the move, Daniel Luna — previously senior director of Mexican music at Warner Music Group and currently founder and CEO of indie record label D Luna Music — has been appointed general manager at Universal Music Latino. He will be based in Miami and report to Delgadillo.

Meanwhile, Angel Kaminsky, also based in Miami and who’s been at Universal Music since 2010, has been named president of A&R and artist relations at Universal Music Latin America and Iberian Peninsula, where he will lead the region’s creative strategy and strengthen its global development. 

“These appointments represent the next phase of our evolution as a unified, forward-thinking organization,” expressed López. “Alfredo’s expanded leadership strengthens our regional integration and cross-border label strategy; Angel’s deep creative expertise ensures we continue to elevate artist development across all Latin markets; and Daniel’s operational leadership will position us to accelerate growth in the U.S. Latino market. Latin music is shaping global culture, and our focus remains clear: empower our artists, foster creative excellence, and build seamless collaboration across all territories to drive sustainable, long-term global success.”

Effective immediately, the three strategic leadership moves are expected to strengthen the creative and operational sectors of the company across Latin America, the Iberian Peninsula, and the U.S. Latino market.