Gnarls Barkley is back after an 18-year hiatus. On Thursday morning (Feb. 26), the Grammy-winning duo comprised of singer CeeLo Green and producer Danger Mouse released their first single from what they say is their third and final album, Atlanta, the dreamy pop tune “Pictures.”

The song is a memory experiment by singer Green, who reminisces about his childhood days whiling away the hours on Atlanta’s MARTA transit line, staring out the window and watching the world go by. “Looks like motion pictures/ Staring out the window of the MARTA train/ On an adventure/ Then back home again/ Looks just like pictures,” Green croons in his signature falsetto over DM’s simple, hypnotic organ and spare drum beat backing. “Staring out the window of the MARTA train/ It’s an adventure/ Till I make it back home again.”

“The song came from a childhood experience. I had a middle school principal who, every Friday would tell me to go when I would get to school,” Green said of the single that reminisces about the pair’s teenage years in the 1990s. “Without fail. I was in 8th grade and I would leave school and ride the train alone from 8am until 2:30pm. The hook of the song is literally about being on the train. When you are in transit it’s like a motion picture passing you by…staring out the window of the MARTA train.”

Atlanta, due out on March 6 from 10k Project/ Atlantic Records, is the long-awaited follow-up to the duo’s 2008 sophomore album, The Odd Couple, which spawned the Billboard Hot 100 No. 88 charting single “Going On.” The pair’s Grammy-nominated, multiplatinum debut album, 2006’s St. Elsewhere, spawned the massive hit “Crazy,” which ran up to No. 2 on the Hot 100 in May 2006 while topping the U.K. charts for nine weeks.

According to a release announcing the return, the Atlanta natives had always intended to record a third album, but “life and other creative pursuits intervened,” before they reconnected last year to record the final chapter in their story. Green described “Pictures” as a return to “square one, it’s a full-circle moment. The spirit of Gnarls Barkley is always self-discovery. The sweet, the sad, and the strange. The universe, the adventure inside of yourself.”

In the intervening years, Green released four solo albums and two LPs with his hip-hop crew Goodie Mob and appeared as a judge on The Voice and Danger Mouse (born Brian Joseph Burton) worked on albums by Beck, Sparklehorse, U2, the Black Keys, Norah Jones, Portugal. The Man, A$AP Rocky and many others while releasing three albums as Broken Bells with the Shins’ James Mercer.

At press time, the group, who often performed in costume, have not revealed whether they will support the new album with a tour.

Listen to “Pictures” and check out the tracklist for Atlanta below.

Atlanta tracklist:

  1. “Tomorrow Died Today”
  2. “I Amnesia”
  3. “Pictures”
  4. “Line Dance”
  5. “Turn Your Heart Back On”
  6. “Let Me Be”
  7. “Cyberbully”
  8. “Perfect Time”
  9. “Sweet Evil”
  10. “Boy Genius”
  11. “The Be Be King”
  12. “Sorry”
  13. “Accept It”


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Jamiroqui has signed a global recording contract with BMG ahead of a forthcoming ninth album (Feb. 26).

The British jazz-junk band has sold over 26 million albums worldwide since their formation in London back in 1992, and released their most recent LP Automaton in 2017 via Virgin EMI.

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Led by vocalist Jay Kay, the band boast four U.K. No. 1 albums: Emergency on Planet Earth, 1993; Sykronized, 1999; A Funk Odyssey, 2001; and High Times – Singles 1992-2006. Nine of its studio albums hit the top 10, and the group has one U.K. No. 1 single (1998’s “Deeper Underground”) and 26 top 40 hits. The band’s 2025 tour featured a number of arena shows, including at London’s O2 Arena and Manchester’s Co-op Live.

Speaking on the signing, Jay Kay said: “Let me say how amazing it feels to find a home at BMG in 2026. It’s been humbling to navigate the interest in the new album from some great companies, but after working so hard on it for the last two years, I know that the super people at BMG are the right team for us. 

“It’s important to feel comfortable and be able to keep a hand in the creative process, not only musically, but visually too. Jamie [Nelson, svp new recordings UK], with his huge experience and in-depth knowledge of my musical journey so far, definitely understands where I want to go – boldly into the future on what feels like an exciting new chapter. I’m exceptionally pleased to be working with him and all the BMG family worldwide on what I genuinely believe is up there with our very best work of the last thirty years.”

Nelson added, “Jamiroquai’s success over many years is extraordinary. Pioneering and progressive in their output, they have continued to evolve while others have stood still. In Jay Kay, they have a truly global, iconic frontman who remains as creatively driven as ever, always pushing forward and bringing fans with him.

Jamiroquai join BMG’s U.K. roster which includes Lily Allen, Kylie, Louis Tomlinson, MARINA, Garbage, Duran Duran, The Script, Gary Numan, Cymande, Olly Murs, Suede, Rita Ora, Rick Astley, and Meek.

Another day, another flood of music industry deals. In an effort to provide an overview of the latest acquisitions, mergers, joint ventures, licensing agreements and more, every other week Billboard publishes a list of all of the latest pacts that hit our radar.

Iconoclast, the catalog acquisition company started by Olivier Chasten, is reportedly being shopped for a price of $500 million. Chasten previously led Irving Azoff’s Iconic Artists Group, where he helped that firm acquire rights to Brian Wilson and The Beach Boys’ catalog. Since its founding in 2021, Iconoclast and its institutional investor PIMCO have acquired certain rights — and often name, image and likeness rights — to more than 30 catalogs, including Diplo’s Mad Decent Publishing, David Cassidy, Marianne Faithfull, Tony Bennett and The Band’s Robbie Robertson. Music Business Worldwide, which reported the news on Feb. 11, wrote that Iconoclast is generating at least $25 million in annual revenue. — Elizabeth Dilts Marshall


Sound Royalties, which finances advances to artists, songwriters and others backed by their royalty income, reported it closed a record-setting $135 million in transactions in 2025. President Michael Bizenov has characterized the 12-year-old company as providing financial options to musicians who do not want to sell their catalogs, and, in 2025, that frequent Ariana Grande collaborator and Grammy-nominated singer/songwriter Tayla Parx and Kurt Vile producer Jon Gilbert. “The fact that we are seeing so many creators trusting us to fund their growth … shows that Sound Royalties is providing a successful mechanism for building sustainable, long-term careers in the creative industries,” Bizenov said in a statement. Sound Royalties — Elizabeth Dilts Marshall

Australia will get more of Tame Impala later this year, with new shows added on both coasts due to “overwhelming demand” during presales.

Kevin Parker’s two-time Grammy Award-winning psychedelic pop outfit will embark on a national arena tour this October in support of Deadbeat, Tame Impala’s fifth and latest studio album.

That run balloons to nine shows, including newly-added dates at Rod Laver Arena, Melbourne, on Friday, Oct. 16, and RAC Arena in Parker’s hometown of Perth, on Sunday, Oct. 25.

“It’s official: Australia just can’t get enough of Tame Impala,” reads a statement from Frontier Touring, which is producing the jaunt.

Multiple award-winning Australian electronic artist, songwriter and producer Ninajirachi is special guest on the tour, the first in these parts by Tame Impala since 2022.

On that occasion, Parker and Co. were supporting 2020’s The Slow Rush with an arena visit delayed by the pandemic. Parker did play arenas in Sydney, Melbourne and Brisbane in the final weeks of 2025, although in a different capacity; for that run, he was the opening DJ for French electronic maestros Justice.

Deadbeat opened at No. 2 on the ARIA Chart last October, continuing a streak that has seen all five of Tame Impala’s studio albums crack the national top 5, starting with Innerspeaker (from 2010) and Lonerism (2012), both of which peaked at No. 4. Tame Impala’s previous two albums, Currents (2015) and The Slow Rush (2020), went all the way to No. 1.

All told, Tame Impala has won 13 ARIA Awards, one BRIT Award and now two Grammys. Parker can add to his stacked trophy room with the coveted song of the year at the 2026 APRA Music Awards, for which “End of Summer” is shortlisted.

Parker has assembled a new six-piece touring band for the Deadbeat tour, which got underway with 12 sold-out shows across North America last October and November. A tour of Europe and the United Kingdom will begin this April, followed by a return to United States and Canada from June for an arena run featuring guests Djo and Dominic Fike.

Tickets for all Australian shows go on sale tomorrow, Friday, Feb. 27 at frontiertouring.com/tameimpala.

Dom Dolla’s 2025 homecoming concert at Sydney’s Allianz Stadium was the ultimate pre-Christmas present for his fans. By sharing the full, two-hour performance online, the gift keeps giving.

The Australian EDM star uploads his groundbreaking Dec. 20, 2025 concert to YouTube, the first stadium show in these parts by a homegrown DJ.

For those paying close attention, the footage includes unreleased Dom Dolla cuts.

“SURPRISE!,” he writes in a social update. “I can’t believe I’m posting this, but we just uploaded my first ever stadium show to YouTube. Crazy stat: It was the first ever electronic stadium show in Australia’s history… so it was appropriate to go all out to make sure this was shot and captured in the best way possible. A massive shoutout to the incredible team who helped me put on this ridiculous party, from the production and video squad to the security and tour staff… It takes an army to put on an event of this size, so be sure to stay tuned until the credits at the end.”

More than 40,000 folks reportedly attended the show, which saw Dom pump out his hits from “Rhyme Dust” to “Saving Up,” “Eat Your Man,” “girl$,” “CAVE,” and many others. At one point, he introduced British singer and songwriter Clementine Douglas on stage as guest vocalist on “Miracle Maker.”

The gathered crowds were also treated to never-before-heard remixes and a mix of rave classics, including Zombie Nation’s “Kernkraft 400” and Da Hool’s “Meet Her at the Love Parade,” all pushed to the limits with visuals, lights and lasers.

The night carried addition emotional weight, taking place less than a week after the Bondi Beach terror attack. Dolla addressed the massacre and personally invited first responders and lifeguards who assisted during the incident, shouting them out from the stage mid-set. “I had to invite a bunch of first responders and lifeguards — they’re just at the back here, make some f—ing noise for these heroes,” he told the crowd. “I used to live in Bondi… I f—ing love you guys so much.”

Dom (real name: Dominic Matheson) also ” managed to sneak in some of my upcoming records,” he remarks. “go check them out.” New music is “coming soon,” according to reps. Presave here.

The landmark show was presented by Untitled Group, Laneway Presents and TEG Live, with support by international acts KETTAMA and Fcukers (DJ set), and rising domestic act Anna Lunoe.

Watch Dom’s performance below.

Alice Ivy collected producer of the year and Ninajirachi snagged a brace at the 2026 MPEG Awards, presented Wednesday night (Feb. 25) in Sydney, ensuring female studio professionals dominated the annual ceremony.

Ivy (real name: Annika Schmarsel) has been on a year-long hot streak, collecting multiple trophies at the 2025 MPEG Awards and cleaning up at last year’s AIR Awards in Adelaide. When her name was called out for producer of the year, MPEG’s top honor, the German-born, Melbourne-based creative noted the shift for the good in the studio landscape.

“You know, PinkPantheress has just won producer of the year at the BRIT Awards,” she remarked. “That award has existed for 47 years and it’s the first time a female has won it. So I feel like the universe is colliding. Which is really, really cool.” She added, “It’s so amazing seeing the girls get up this year.”

Ninajirachi, too, is coming off a brilliant year on the awards circuit, all of it reward for her debut studio album I Love My Computer. The producer, DJ and artist, who is currently abroad on tour, added self-producing artist of the year and breakthrough producer to her heaving trophy cabinet. 

“I have been producing music since I was a young girl,” she remarked on a pre-recorded video accepting the breakthrough award. “I taught myself a bunch of software when I was a little girl and I think it’s something I’m going to be doing until I die. Basically I love producing music so much. I really feel like more of a producer than any other role of being an artist, truly.”

As previously reported, veteran hitmaker Mike Chapman was recognized with the lifetime achievement award. Baby Animals bandmates Suze DeMarchi and Dave Leslie were on hand to induct Chapman, a studio legend who turned their debut album into the musical equivalent of precious metal. Or in his own words, “one of the best rock albums ever.”

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In a pre-taped thank-you, Chapman offered “one little warning. AI is here. AI is a challenge. And it’ll be more so going forward. So, if you use it, use it with respect and care. And remember, we are in the business of trying to make rock stars, not robots.”

The topic of artificial intelligence and the threat of taking voices away from the creative community was a common thread to the evening’s acceptance speeches.

All nominees were selected following an open submission process, with entries assessed by a panel of carefully selected judges based on work released during the eligibility period.

Now in its third year, the MPEG Awards is the only national awards event dedicated to celebrating outstanding achievement across music production, engineering and studio practice in Australia.

An initiative of the Music Producer and Engineers’ Guild of Australia (MPEG), the ceremony was presented at The Darling Rooms Dockside at Cockle Bay Wharf.

MPEG was established in 2022 to advocate for, recognize and elevate Australia’s producers and engineers, representing their commercial interests and strengthening the professional community through engagement and visibility.

Sponsors this time were Shure/Jands, Neumann.Berlin, AVP Imports, Avid, PPCA, Music Australia, Considered Commercial and Entertainment Law, Yamaha, Marsh, and APRA AMCOS.

2026 MPEG Awards winners:

Producer of the Year — Alice Ivy

(Nominees: Alex Burnett, Anna Lunoe, Aidan Hogg, Robby De Sa)

Breakthrough Producer of the Year — Ninajirachi

(Nominees: Xavier Dunn, Fletcher Matthews, Jonathon Tooke, Moss, Sophie Edwards)

Writer-Producer of the Year — Lucy Blomkamp

(Nominees: Anna Lunoe, Robby De Sa, Rob Amaruso, Aidan Hogg)

Recording Engineer of the Year — Simon Cohen

(Nominees: George Carpenter, Lewis Mitchell, Rohan Sforcina, Wayne Connolly)

Mix Engineer of the Year — Thomas Purcell p.k.a. Wave Racer

(Nominees: Simon Cohen, Eric J Dubowsky, Nao Anzai, Nick Herrera)

Mastering Engineer of the Year — Joe Carra

(Nominees: Nao Anzai, Lachlan Carrick, Nicholas Di Lorenzo, Andrew Edgson)

Studio of the Year — 4000 Studios

(Nominees: Pughouse Studios, Empire Studios, Synth Temple, Audrey Studios)

Self-Producing Artist of the Year — Ninajirachi

(Nominees: Harvey Sutherland, Alice Ivy, Anna Lunoe, Skeleten)

Overseas Achievement — Keanu Beats

(Nominees: Tim Tan, Catherine Marks, Styalz Fuego, Dom Dolla)

Outstanding Community Work — Music Producers Development Program

(Nominees: Songmakers, Kool Skools, Music Production for Women, Resonate)

Lifetime Achievement Award — Mike Chapman

A Juvenile x Megan Thee Stallion collaboration might not have been on our 2026 bingo card, but it looks like it could be on the way soon.

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On Wednesday (Feb. 25), Meg shared a video to her Instagram and TikTok accounts that has fans searching for answers. The 15-second clip features the Houston-based rapper lip-syncing and dancing along to a snippet of a previously unheard verse set to Juvenile’s comeback hit “B.B.B.,” featuring Genesisthegawd. In the caption, Megan tags the iconic rapper, writing, “BBB ft ME @juviethegreat *eyes looking emoji* when you gonna drop it.”

Though Juvenile has yet to respond directly to the Hot Girl Coach’s inquiry, we may get the remix sooner than we think. Juvenile reposted the video on TikTok, and just hours before Megan’s post, he did an interview with St. Petersburg, Florida, radio station WiLD 94.1, where he spoke about the new single and the potential collaboration.

“You know, I’m a millennial, so thank you for giving us millennial girlies a new anthem,” host Babs says to the rapper. “‘B.B.B.’ going viral on TikTok.”

When making the song, Juvenile knew he had a hit on his hands — one specifically for his generation. “I listened to [the beat] and I just thought about it and I said, ‘Hmm, let me do a song that relates millennials, me, people like me.’”

He realized his mission was accomplished after seeing a TikTok of a woman saying that he and fellow rapper T.I. can’t keep making music like this because it’s going to have her injuring herself trying to dance like she used to back in the day. “That got me right there,” he says. “It’s been all women, all millennials.”

Babs followed up by saying what’s been front of mind for many online: On Feb. 5, TikTok user @horram.ky posted a snippet of “B.B.B.” with the caption “This is the first time I hear [a] man match Megan’s flow on a song.” Many comments agreed, with one responding, “That’s the first thing I said. I said he [needs] to get Megan on this phone ASAP.”

Babs brought this discussion to Juvenile directly, mentioning that a lot of people are hoping Megan will hop on the remix. “How you don’t know she haven’t?” the “Back That Azz Up” rapper replied cryptically. “Shout-out to Megan, that’s all I gotta say. Megan Thee Stallion is uploading.”

So now that we know the remix is possible, there’s one question left for Juvenile, straight from Thee Stallion’s mouth: When you gonna drop it?

Whitney Houston‘s “I Have Nothing” is one of the greatest breakup songs of all time — and at least 1 billion people agree.

Earlier this month, the music video for the powerhouse ballad — the third single from the soundtrack of The Bodyguard, Houston’s 1992 film debut — reached 1 billion views on YouTube. Released as a single after the successes of “I Will Always Love You” and “I’m Every Woman,” “I Have Nothing” peaked on the Billboard Hot 100 at No. 4. Meanwhile, the Bodyguard soundtrack spent 20 weeks atop the Billboard 200 albums chart and is also the highest RIAA-certified soundtrack of all time.

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This is Houston’s second music video from The Bodyguard to join YouTube’s Billion Views Club: With more than 1.8 billion views so far, the video for her blockbuster cover of Dolly Parton’s “I Will Always Love You” could be on track to surpass 2 billion views in the coming months.

The modern-day success of “I Have Nothing” appears to have happened organically: The song isn’t currently trending on social media and hasn’t been revived by a current TV show or film. The ballad is a masterclass in vocals, and its enduring success speaks to Houston’s timeless legacy.

Fans of the late legend are celebrating the song’s accomplishment online. “Congratulations Whitney! Still making history!” one commenter wrote on the r/whitneyhouston subreddit announcing the milestone. “Im sure 675 million of these streams were me,” another said in response to a post by Facebook fan page For The Love of Whitney.

Join the ranks and watch the iconic “I Have Nothing” music video below.

M!LK’s “Bakuretsu Aishiteru” hits No. 1 on the Billboard Japan Hot 100, dated Feb. 25, marking the group’s first time atop the chart.

The track appears on the five-man group’s new single “Bakuretsu Aishiteru / Sukisugite Metsu!” released Feb. 18. The single sold 615,808 copies — more than triple the first-week sales of the group’s previous release — and hits No. 2 for sales. The song also tops video views and comes in at No. 5 for downloads, No. 3 for streaming, and No. 23 for radio airplay. M!LK’s prior career peak on the chart had been No. 3, achieved with “Sukisugite Metsu!,” “Aono Oto,” “Over The Storm,” and “Ternero Fighter.”

Naniwa Danshi’s “HARD WORK” debuts at No. 2. The theme song for the Tokai TV × WOWOW co-produced drama Yokohama Neighbors Season 1 launched with 737,824 copies, a career-high for the seven-man group, to hit No. 1 for sales. The track also comes in at No. 34 for radio and No. 79 for video.

RIIZE’s “All of You,” from the group’s second Japan single, bows at No. 3 after selling 389,850 copies in its first week (No. 3 for sales). The track tops radio while coming in at No. 81 for downloads.

Other new entries in the top 10 this week include ≒JOY’s “Denwa Bango Oshiete!” and Travis Japan’s “Kage ni mo Hinata ni mo.” ≒JOY’s track, issued Feb. 18 as the group’s fourth single, sold 276,793 copies to debut at No. 6 overall. Travis Japan’s “Kage ni mo Hinata ni mo,” the lead track from their second single due Apr. 15, hits No. 1 for downloads, No. 30 for streaming, and No. 16 for video to launch at No. 9.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from Feb. 16 to 22, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.

Junior H and Gael Valenzuela’s DEPR</3$$ED MFKZ debuts at No. 1 on Billboard’s Top Regional Mexican Albums chart (dated Feb. 28).

The 15-track set marks the label mates’ first collaborative album, and a significant milestone for Valenzuela who transitions from his role as a songwriter to a lead artist. The set, Valenzuela’s first, also bows at No. 3 on the overall Top Latin Albums.

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DEPR</3$$ED MFKZ, which meanes ‘Depressed Motherf—ers, starts with 32,000 equivalent album units earned in the United States in the week of Feb. 13-19, according to Luminate. Most of the album’s starting sum stems from streaming activity —equating to 33.4 million official streams of the album’s tracks (minimal activity derives from traditional album sales and track-equivalent units from song sales).

DEPR</3$$ED MFKZ is the fifth No. 1 for Junior H on the Regional Mexican Albums chart. It follows $ad Boyz 4 Life II, which peaked at No. 1 in Sept. 2025 and dominated for 10 consecutive weeks —his longest coronation. The latter contained eight songs crediting Valenzuela as a songwriter.

In addition to its No. 1 start on Regional Mexican Albums, DEPR</3$$ED MFKZ launches at No. 3 on Top Latin Albums, marking the sixth top 10 for Junior H.

Valenzuela — a corridos tumbados singer-songwriter from Guanajuato, Mexico, — made his Billboard chart debut just a month ago, when “Mi Gata,” the album’s lead single, debuted at Nos. 10 and 14 on the Hot Regional Mexican Songs and Hot Latin Songs charts, respectively (dated Jan. 24). On this week’s ranking, “Mi Gata” climbs to No. 8 on the Hot Regional Mexican Songs chart.

DEPR</3$$ED MFKZ‘s success extends to the all-genre Billboard 200, where the album debuts at No. 15 — the second top 20-charting project for Junior H.

Adding to DEPR</3$$ED MFKZ’s splash across the charts, 13 songs from the album reach the multi-metric Hot Latin Songs chart, which combines radio airplay, streaming date and digital sales. “Droga Letal” with Peso Pluma, the album’s only collaborator, leads the new recruits, debuting at No. 12, mostly powered by 3.9 million official streams registered during the tracking period. The sum leads a No. 16 start on Latin Streaming Songs, likewise Valenzuela’s first entry there. Plus, it gives Valenzuela his first visit to the all-genre Billboard Hot 100, at No. 100.

Here’s a rundown of Junior H and Gael Valenzuela’s DEPR</3$$ED MFKZ tracks on this week’s Hot Latin Songs chart, where “Mi Gata” returns for a fifth week, at No. 26:

No. 12, “Droga Letal,” with Peso Pluma (debut)
No. 19, “En Dónde Está$” (debut)
No. 20, “MI$ LLAMADA$” (debut)
No. 22, “Errore$” (debut)
No. 26, “Mi Gata” (reentry)
No. 27, “No Tenga$ Miedo” (debut)
No. 31, “Cholo” (debut)
No. 33, “Demencia” (debut)
No. 34, “No Te Dolió” (debut)
No. 36, “Pole Dance” (debut)
No. 41, “Valle de $ombra$” (debut)
No. 46, “Pink Cake” (debut)
No. 49, “La Cama” (debut)