Inside Billboard’s Ground Floor Studios, B2K and Bow Wow are heating things up with their exuberance and youthful spirits on a frigid March afternoon in New York City. After scarfing down three boxes of Gotham’s revered Joe’s Pizza, the early-2000s hitmakers spring from their seats to play unreleased music ahead of their forthcoming Boys 4 Life Tour, slated to kick off this Friday (March 6). As they dance and snap photos, the same smiley, cheery energy that carried millennials through their pubescent years now feels poised to restore that feeling in a world often imbued with chaos.

For B2K, songs like “Uh Huh” and the Billboard Hot 100 No. 1 hit “Bump, Bump, Bump” vaulted the R&B quartet into superstardom before the age of 20, while Bow Wow’s childhood celebrity — powered by Hot 100 missiles like “Like You” and “Bounce With Me” — once had teenage girls in a tizzy. In an era where early-2000s nostalgia continues to dominate both playlists and touring circuits, the reunion arrives right on cue. With nostalgia continuing to serve as a healing power in music, the brothers’ reunion feels less like a comeback and more like the reopening of a time capsule.

“‘Boys 4 Life’ came from our Pandemonium album,” says Omarion. “I don’t think at the moment in time when we were young, we understood how we’d embody it in the future and how we would go through different trials and tribulations as individuals and together. So ‘Boys 4 Life’ is a deep embodiment of a journey that, through brotherhood, brings influence and expansiveness not only to ourselves but also to others. We’re a true representation of forgiveness and overcoming. I think there’s something powerful about that.”

Billboard spoke with B2K and Bow Wow about celebrating 25 years in the game, brotherhood, growth and what to expect from their upcoming tour.

After everything B2K has been through publicly and privately, 25 years later, what does it mean to be celebrating this milestone together? 

J-Boog: We’re thankful to all still be here. We’re all healthy. 25 years, not everybody gets to see that [number]. A lot of people come and go really fast. So for us to still be here, [and] still be requested in high demand, it’s really an honor to hold this spot down for real. 

When you hear Boys 4 Life — which is not only a B2K record from your debut album but the name of the upcoming tour you guys are on with Bow Wow — what weight does that name have now?

J-Boog: It embodies so many levels, but brotherhood is the staple. The trials, tribulations and the triumphs. There’s nothing that we can’t overcome. So being boys for life doesn’t mean that it’s always gonna be pretty, but it’s always gonna be something we can talk about and can get over it. We’ll always be here for each other. Even Bow, he’s our extended member. He’s our fifth brother. He’s really in B2K. 

Bow Wow: If I can learn the moves [laughs]. 

Bow, you recently hit 25 years since Beware of the Dog. When you look at B2K’s legacy, what do you think fans still underrate about their impact on R&B?

Bow Wow: We’re talking about a Black group of young men [not seen] since New Edition that’s done it [the way that they have]. And on top of that, they just got it. The talent was there — it’s been there since day one. Scream Tour, I knew it.

They were hopping out of these vans with all these clothes in their bags. That was the start up and to see them go from that to headlining tours and successful albums, it’s just dope to see and witness. I think in 2019, they brought it back, but they’re even hungrier now. Everybody is in a better space collectively and I think they wanna show the world in this run why they’re gonna be wrecking s–t for the next couple of years. They got an album and a run coming. I’m proud of them. 

We had New Edition in the office last month and they’re celebrating 40 years together this year.

Bow Wow: Wow! 40 years? I’m gonna have to be on an island somewhere. I don’t know if I can keep Harlem shaking that long [laughs]. 

But, I bring up NE because I asked them, why don’t we see boy bands in this current era of R&B and pop. What do you guys think is missing?

Raz-B: The culture has shifted more hip-hop. Music has changed. It’s harder to break a group. It takes a lot of money. Groups break up. It takes a lot to launch a successful group. It’s expensive. There’s a lot there to unpack. 

Bow Wow: It’s hard. I’m sure we’ll probably see it again. I don’t know when, but you gotta understand, to go from Jackson 5 to New Edition to B2K, it’s like, “Damn.” You’re gonna have to compete with all that to make your mark in the game too? That’s some tough s–t to follow. It’s heavy. 

From B2K’s perspective, what’s the most underrated aspect of Bow Wow’s arsenal that hip-hop tends to overlook? 

Omarion: I would say his tenacity. His ability to transform within the game and continue to press forward. Him being one of the child prodigies and superstars that still up to this era and time can continue working and challenge himself [is impressive].

Also, expanding outside of himself, and moving towards business. I feel like he’s a great example of what it means to be a child star and have some real foundation ‘cuz they don’t make it that long. They don’t make it that far, especially with their head. There’s usually a few screws loose. He’s been able to be a good father, handle his business and still tour. Bow’s one of them ones. 

J-Boog: He inspired a generation of music that may not give him the credit of why they’re rapping. When he came out as a 12-year-old rapper, Migos, all of them cats, they’ve seen Like Mike. They wanted to be rappers because of that. They believed that they can accomplish that at a young age because of that. They might not rap about what he rapped about, because they’re adults now, but they were definitely inspired. A lot of the music y’all are getting right now from these rappers — these guys who are 25-30 years old — they’re like little bros to him, whether they acknowledge it or not.

I was there at the tour last year with Bow and O and it felt very nostalgic. How hard is it to recapture that feeling every time you guys go on tour?

Omarion: It’s easy, because these songs embody [fans’] own personalized moment. That’s the power of nostalgia because not every artist has that, where you can listen to a song and it takes you back to that moment, but you’re actually in that moment. You’re reliving an old moment in a new moment. There’s something powerful about that. 

J-Boog: It’s like a time capsule.

Raz-B: That’s why music is important. It’s the soundtrack of our lives. 

J-Boog: And I hope music gets back to not having a catchy jingle or something, where there’s a piece of a song that I can do a dance to and it can go viral. The music that creates nostalgia are those timeless records that you actually spent time on and put your heart into it. Spend some time on y’all craft, man. 

Omarion: So to answer your question, we gotta just sing those smashes.

Is there a record that still gives you chills when you perform?

Raz-B: “Uh Huh.”

Omarion: “Uh Huh” is a really good one, because that was the ethos — that was the beginning of it all for us. What song would you say Boog?

J-Boog: I would say “Uh Huh” for us too, because that was a breaking moment. We had to perform that song so many times, and we performed it a lot, because people knew it. If you perform in front of somebody who doesn’t know your records, you know how that feels. 

Omarion: It’s like performing alone. Fizz?

Fizz: Probably “Uh Huh” or “Why I Love You,” because there’s a lot smooth pockets in that one. 

What about you, Bow?

Bow Wow: “Outta My System” is dope because I kind of get to get on my LL real quick, but “Fresh Azimiz” is high-powered, high-energy. It’s high-voltage. 

If you guys can pick one legacy group to join the Boys 4 Life tour, who would you choose and why?

Omarion: I would say the Pussycat Dolls. We might have to change the title, because it’ll be girls, but as far as groups go, I can’t think of any other [ones]. I know who Raz would say though. [Starts singing 3LW’s “No More”…]

J-Boog: Raz, you did have an idea where you wanted to do a Make a Boy Band Tour with us, Backstreet Boys, *NSYNC, and Destiny’s Child coming back together. For me, I can’t think of a group. 

Omarion: You said it. Destiny’s Child would be incredible.

J-Boog: We actually had a chance to open up for Destiny’s Child during our first overseas trip. 

Omarion: We’d open up for y’all again [laughs]. 

Everyone here is working on new music. How has that changed versus when you all first started? 

Raz-B: We’re all mature. We’re fathers. We’re experienced. There’s one record that we wrote and recorded called “Knowledge.” It’s not the only record we wrote, but our approach is our experiences. We’re 40 years-old now. 

Omarion: I think there’s also something special about creating music that reflects your now. Outside of us growing and being mature, we have our own little lingo. We know what vibes hit.

Lastly, if y’all could pick one deep cut to perform on tour, which one would it be and why?

Omarion: “Sleeping.” Back in the day, when we all sang solo and “Sleeping” was the song that I’d perform. 

Raz-B: “Come On.” It was pretty much our demo song. It was the one that got us our deal. It’s fire. I think it would be dope. 

Fizz: I’d say “Understanding.”

Bow Wow: It just gotta be one? I got two. I’m gonna throw O in the box right here. From our Face-Off album, every tour that we’ve done, they always got mad at us because we only do two songs — the singles. When it comes to that me and that O album, nothing misses. I gotta say, “He Ain’t Gotta Know.” That’s the one right there. Then, I’m gonna go left: I’mma go Jessica Simpson’s “Irresistible.” The So So Def remix. 

Omarion: That boy got range. 

I was gonna say Jojo for that “Baby It’s You.” Might have to give her a call.

Bow Wow: Hey, we would love it.

Omarion: She might have to pull up.

Bow Wow: Everybody gon’ pull up. It’s gonna be dope. It’s gonna be a celebration. We’re excited. It’s been a full-circle moment for us to be here, look the part, look healthy and the girls are still screaming. ‘Cause once they stop, it’s all over. 

Los Angeles-based independent musician Jesse Barrera had just bought a house and had his first child when he sat down to write “No Reservations.” It was February 2023 when Barrera released the neo-soul song and video he filmed on his iPhone to YouTube. Within a matter of months, the song became Barrera’s best-performing track on YouTube, accumulating more than 4.3 million views as of February 2026.

The track’s success caught catalog investors’ attention, including Duetti, whom Barrera had dealt with before. A year earlier, the music rights company, which buys master and publishing rights to individual songs by independent artists, bought a stake in his cover of Shania Twain’s “Still the One.” Barrera said that deal, the terms of which were not disclosed, paid for several of his music videos. That led him to sell Duetti his masters for “No Reservations” and use the proceeds to fund his 2025 album, Gentle Noise. 

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“The timing was perfect because it aligned with the recording of my full-length record,” Barrera says. “For what I’m trying to do, trying to accomplish and keep going as an artist, it makes sense to me.” 

Founded in 2022, Duetti has acquired thousands of songs like these for sums ranging from a few thousand to a few million dollars, and it is growing at a pace of around 80 songs and catalogs a month. With $100 million in backing from equity investors The Raine Group, Flexpoint Ford, Nyca Partners, Viola Ventures and Roc Nation and $205 million from two asset-backed securities, plus additional credit, Duetti and its investors are betting big on the future value of music’s long tail. 

Their strategy is three-pronged. Like any music catalog company, Duetti grows through acquisitions. But because it is acquiring what most investors still consider to be riskier music assets — songs by lesser-known artists released as recently as two years ago — Duetti has invested heavily in data engineering and forecasting so it can value songs and project future growth in-house, Duetti co-founder and CEO Lior Tibon says. That tech platform helps the firm acquire the most promising songs at scale cost-efficiently, he adds, and once acquired it is also used to improve management and royalty collections. Meanwhile, marketing staff work to increase streaming activity with slowed-down and sped-up versions of songs and remixes, which are placed on Duetti’s 3,000 actively managed playlists and pitched to influencers and digital service providers. 

“We are a company that really specializes in understanding the value — financial and otherwise — of catalogs and knows how to take them to the next level,” Tibon says. “It’s not about just financially aggregating rights. It’s about really managing and taking care — through marketing, collections — of music rights and making sure that they survive in this world where there’s so much new music coming out every day.”

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Duetti has published a flurry of recent reports to burnish its credentials as a resource for reliable data on indie music catalog economics. In January, with support from Billboard, the company launched its Music Finance Index, a twice-annual poll about the state of music catalog valuations and investor sentiment from the perspective of independent artists, managers and lawyers in Duetti’s orbit. In February, Duetti published its 2025 Music Economics Report, with findings on how artists who earn between $100 and $350,000 a year from streaming music can build catalogs that generate durable revenue, which they consider to be a catalog that experiences less than a 10% decay in streaming activity in a year. 

The report found that songs that go viral may earn more money in the first three months than songs that grow more slowly, but within six to nine months both assets end up generating close to the same amount. It also guided artists to release electronic and hip-hop songs in the spring, alternative tracks in the summer and Christian and country songs in the winter for the greatest success. Artists who release at least three tracks a year had 18% higher revenue on average per track in the first year post-release, the report found. The report emphasized that for artists just getting started, two consecutive months of growth on YouTube is more correlated to catalog durability than similar periods of growth experienced on other streaming platforms.

As a startup, Duetti has raised $635 million, mostly in the form of debt. More than $200 million of that debt has come from two asset-backed securities; these notes sold to institutional investors, such as insurance companies, give Duetti access to money at an interest rate much lower than it would receive from a bank on a more conventional line of credit. For example, the U.S. Small Business Administration, which offers among the lowest interest rate loans on the market, charged between 11.75% and 14.75% on its loans in February. In contrast, Concord, which has raised more than $3 billion from ABS issuances, pays an interest rate of less than 6%, CEO Bob Valentine has said.

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However, most music securitizations, such as Concord’s, were backed by hit songs from famous artists that are decades old and therefore have shown steady rates of return. Duetti was the first catalog company to issue an ABS backed by newer songs. The money raised from its ABS reflects the value of the songs backing it, but like any other type of this securitization, if the underlying songs lose value over the coming years, the company could face a capital call. That hasn’t happened to Duetti or any music company.

When he has spoken with debt investors, Tibon says he always points out how many individual listeners and streams a song must have to generate $10,000. Compared with other assets like auto loans that get securitized and sold on the debt markets regularly, that theoretical song provides millions more data points to evaluate.

“Maybe it’s easier to get comfortable with the value of a Bruce Springsteen catalog,” Tibon says. “But we’ve proven twice that we can do a securitization, that the catalog is worth what we think it’s worth, and that we are stable and continue to grow.”


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On a particularly difficult writing morning, Courtney Barnett’s routine was interrupted by a praying mantis hanging upside down from her door frame. A quick internet search informed her that the sighting could symbolize she was on the right path. “There’s a million Google results of random stuff. You take what you want,” Barnett, 38, says with a laugh. “It felt like a sign from the universe.”

That welcome disruption became “this weird little symbol for the album” — her fourth full-length, Creature of Habit, is out March 27 — as well as inspiration for the cover art, which is fittingly a black-and-white photo of a praying mantis. “I was just exploring,” the Australian singer-songwriter-guitarist says, “trying to find a way to change some of my habits or patterns without being totally negative and self-critical. Noticing that I have this tendency, wouldn’t it be nice to gently try it another way?”

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Mnemonic Devices

Barnett admits she has a bad memory and found herself incorporating poems, riddles and songs in her daily life to strengthen her recall, much like classrooms teaching kids the colors of the rainbow with the acronym ­ROYGBIV. “It sounds like such a nerdy thing,” Barnett says. “There’s a line [on the track ‘Mantis’] that says, ‘Organizing all my thoughts, making them rhyme,’ that was loosely based on me writing all these little riddles and acrostic poems and using them as mnemonic devices.”

Oliver Sacks

While recording Creature of Habit, Barnett began reading works by British neurologist Oliver Sacks, who has written about various disorders including visual agnosia, a condition where people are unable to recognize familiar objects or people. “I was getting obsessed with that,” Barnett says. “I have trouble recognizing people’s faces and I realized over the years that it causes me social anxiety.” To learn more, Barnett pored over Sacks’ titles including his 1985 book, The Man Who Mistook His Wife for a Hat, and his more recent 2010 release, The Mind’s Eye.

Dream Journaling

Barnett returned to an old routine of writing down her dreams while making Creature of Habit. “I tried to be really disciplined about it,” she says. “It is similar to my songwriting … I tap into the subconscious part of my brain to see what’s happening there.” At the same time, her girlfriend was reading Nightmare Obscura: A Dream Engineer’s Guide Through the Sleeping Mind by Michelle Carr and shared her favorite chapters. “The author is talking about how anxiety dreams are sometimes a practice run for reality,” Barnett adds. “It’s like the brain trying to prepare us.”

This story appears in the March 7, 2026, issue of Billboard.


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Eric Nam is no stranger to facing the heat after his run on the recently wrapped season four of Peacock‘s hit show The Traitors, so it’s no surprise that for Billboard‘s latest episode of Takes Us Out, the singer-actor selected teppanyaki restaurant Shogun in Pasadena, Calif., where the fiery metal cooktop is just as scorching as the flames at the Fire of Truth.

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It’s also where the K-pop artist — who released new song “How the Fire Started” and its Traitors cast-filled music video March 3 — decided to share some of his secrets with Billboard‘s Tetris Kelly.

“I initially had said no to doing Traitors a few times,” reveals Nam, who grew up in Atlanta. “I was very hesitant because it’s reality TV in the U.S., which is also very different from reality TV in Korea, and I just didn’t know how it would play out. But I thought it would be a great way for me to introduce myself to a bigger population of the United States and to hopefully introduce them to my music. That was the big bold decision I took.”

The artist calls filming the Emmy-winning show “insane” and “psychologically a lot,” but despite the challenges, there were some big positives. “I walked away with a lot of new friends,” he shares, before teasing that he could perhaps play better if offered another shot, giving The Traitors‘ producers a nudge. “Maybe next time, I’ll get [the Faithfuls]! I’ll get ’em all! … I hope it’s for All Stars!”

Some of those new friends — Faithfuls Maura Higgins, Natalie Anderson, Ron Funches and Yam Yam Arocho — starred in his video for “How the Fire Started,” a country-tinged revenge song of sorts that could also apply to The Traitors victor Rob Rausch, who appeared in the humorous visual as well.

“I’ve been stabbed in the back a lot, and I realized there are a lot of people in my life … who were in my life, who saw me and what I was or whatever as an opportunity more than as a person or as a friend,” the singer, who was dinged by contestant Michael Rappaport for his “magic ears” after misidentifying a Traitor’s laugh, shares of his new song. While Nam was talking about his life, it also applicable to the competition show’s finale, during which Rausch — who had recruited Nam to be a Traitor — betrayed the musician’s trust and banished him during the Fire of Truth alongside Higgins to ultimately take the nearly $221,000 prize for himself. “I think I’ve been through some really really crazy relationships whether that’s romantic or platonic … Sadly, sometimes it just doesn’t end great.”

“It was one of the scariest things I put together,” the singer-actor admits of the music video fro “How the Fire Started,” which is also the first single for a new album he hopes to release this summer. “I have a hard time asking for favors and asking, ‘Do you mind doing this?’ But everybody was so down and so excited, and they were incredible! We had a good time! For us, I think it was a way to just kind of wrap up the entire experience in a way that twas fun and cheeky and still pulled the music in, which was my biggest hope.”

Watch Eric Nam’s full episode of Takes Us Out above, during which he dishes on whether he ever suspected Rausch, what fans would find most surprising from behind the scenes of The Traitors, tests his “magic ears” by trying to identify Billboard Hot 100 songs and much more!


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Eric Nam takes us out to  hibachi at Shogun in Pasadena to celebrate his brand-new single “How the Fire Started.” Fresh off his unforgettable run on ‘The Traitors’ season 4, he shares behind-the-scenes ‘Traitors’ secrets, upcoming film projects, and why he almost turned down reality TV multiple times.

Eric Nam:

Don’t trust nobody. Don’t trust anybody. That’s how the fire starts. You trust people. You get stabbed in the back. 

Tetris Kelly:

Test these magic ears. 

Fire in the hole. It’s a heart! Oh and it’s broken, like me in my song! 

Too bad you can’t pay for this because you lost.

What are you wearing? Is that a napkin? 

‘Sup player. I’m doing my best Rob.

Is it Slytherin? 

It’s the Slytherin one. I don’t have the fancy Traitor one. You have to give me one. 

It looks great.

Did you keep your robe?

No, they’re, like, very highly coveted items.

Well, thanks for hanging! I heard you got a fire single, so we’re gonna do some fire. 

Yes, I love fire, let’s play with some fire.

I’m happy to be here with you. So tell me why you decided you had to take us out to hibachi. 

So my new single is called “How the Fire Started,” and I thought it would be fun to do something with fire.

Well, there’s gonna be a lot of fire.

I know, and I’m so excited. And also, I haven’t been to a hibachi in at least a decade. 

Oh, well. So we’re coming back. You’re gonna enjoy it. You’re gonna catch shrimp in your mouth.

Nostalgia, an onion volcano that explodes — like, there’s nothing that excites me more. 

Well except maybe becoming a Traitor. 

Except maybe, actually, I don’t know that was really hard, guys, really hard. 

So we’re gonna talk about new music. We’re gonna talk about ‘Traitors.’ But one of the things I think is so interesting is, like, you’ve had this incredible music career, you obviously have built your fanbase, but I’m sure so many people are discovering Eric Nam now from ‘Traitors.’ So how is it to kind of see yourself grow in recognition with a new group of people?

You know, it’s been really exciting. I initially had said no to doing ‘Traitors’ a few times. I was very hesitant, because it’s reality TV in the U.S., which is also very different from reality TV in Korea, and I just didn’t know how it would play out, but I thought it would be a great way for me to introduce myself to a bigger population of the United States and to hopefully introduce them to my music. And so that was, like, the big, bold decision I took.

Keep watching for more!

Britney Spears‘ rep has spoken out after the star was arrested for suspicion of a DUI on Wednesday (March 4), telling Billboard in a statement Thursday that the star is going to be making some serious changes in her life with support from her family.

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Of the arrest that took place 9:28 p.m. PT in Ventura County, Calif., Spears’ rep said, “This was an unfortunate incident that is completely inexcusable.”

“Britney is going to take the right steps and comply with the law, and hopefully this can be the first step in long overdue change that needs to occur in Britney’s life,” the statement continued. “Hopefully, she can get the help and support she needs during this difficult time.”

“Her boys are going to be spending time with her,” it concluded, referencing Spears’ sons Sean and Jayden, whom she shares with ex-husband Kevin Federline. “Her loved ones are going to come up with an overdue needed plan to set her up for success for well being.”

The statement comes shortly after Billboard confirmed that Spears had been taken into custody, with the Ventura County Sheriff’s Office booking her early Thursday morning before releasing her around 6:07 a.m. PT. She will head to court on May 4.

The pop icon previously faced legal issues in 2007, when she turned herself in for a hit-and-run and driving without a valid license after steering her car into a parked vehicle in Los Angeles. The case was later dismissed, but not before she was placed under a legal conservatorship in 2008 that would last for the next 13 years.

The statement from Spears’ rep echoes what her ex-husband said in his October memoir, You Thought You Knew, in which Federline warned “The truth is, this situation with Britney feels like it’s racing toward something irreversible.”

“It’s become impossible to pretend everything’s OK,” he also wrote of his famous ex-wife’s well-being. “Something bad is going to happen if things don’t change, and my biggest fear is that our sons will be left holding the pieces.”

Spears, however, slammed the memoir, saying at the time, “The constant gaslighting from ex-husband is extremely hurtful and exhausting.”


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One of the longest-tenured members of the Beach Boys is hanging it up after more than six decades on the road to focus on songwriting and recording. According to Rolling Stone, Bruce Johnston, 83, is retiring from touring with the “Surfin’ USA” band after 61 years on the road, where he performed the band’s surf pop classics in upwards of 6,000 concerts.

“It’s time for Part Three of my lengthy musical career!” Johnston told the magazine of his decision, which will leave founding member singer Mike Love as the lone original-era member still touring with the band; fellow co-founder singer/rhythm guitarist Al Jardine stopped touring with the Love-led version of the Beach Boys in 2012.

“I can write songs forever and wait until you hear what’s coming!!! As my major talent beyond singing is songwriting, now is the time to get serious again,” Johnston continued. “In addition, I’m currently working on developing a speaking-engagement chapter of my career — inspired in part by Cary Grant, who long ago made a similar move after his movie career. With a ton of help designing what I speak about from [honorary Beach Boys member actor] John Stamos, I’ll be doing appearances and events of my own. I might even sing ‘Disney Girls’ & ‘I Write The Songs!!,’ he wrote, the latter in reference to, respectively, one of the handful of songs he wrote for the band, as well as the 1976 Billboard Hot 100 No. 1 Barry Manilow hit he penned.

Johnston added that he’s still excited to join the band for special performances, specifically the upcoming July 2-4 gigs at the Hollywood Bowl in Los Angeles as part of the events celebrating the United States’ 250th anniversary. “This isn’t goodbye, it’s see you soon. I am forever grateful to be a part of the Beach Boys musical legacy,” he said.

At press time a spokesperson for the Beach Boys had not returned Billboard‘s request for comment.

With the exception of a 2012 world tour in support of the That’s Why God Made the Radio album, Johnston has been the only other old-school member of the group to tour with Love for the past 28 years. He originally joined in band in 1965, four years after its founding, to help fill in for musical mastermind Brian Wilson when he stepped aside to focus on studio recordings. After splitting in 1972 to pursue solo work and songwriting, Johnston returned in 1978 and had been a reliable touring and recording member ever since.

In a separate statement to RS, Love called Johnston “one of the greatest songwriters, vocalist, and keyboardist of our time. We’ve had the honor of his performance and participation for many many years with the Beach Boys. Change is always promised in life, today we find ourselves in a chapter of change, but not an end.”

He praised Johnston for shifting his focus to his biggest strength: songwriting and recording, and said he looks forward to collaborating with him in the studio in the “very near future. I am very supportive of Bruce and I have every confidence that he will produce great music,” he added. “I am delighted that Bruce will join the band on special occasions and when his schedule permits including The Hollywood Bowl performances celebrating the 250th Birthday of our great nation. I love & respect Bruce Johnston.”

Chris Cron, the lead singer for the Beach Boys tribute act Pet Sounds Live, will replace Johnston in the touring version of the group. Estranged member Jardine continues to tour with the Pet Sounds Band — featuring former members of Wilson’s solo band — performing Wilson and the Beach Boys’ music, lately focusing on the 1977 The Beach Boys Love You album; they will hit the road again on April 11 with a gig at the Scottish Rite Auditorium in Collingswood, N.J.

Listen to some of Johnston’s compositions for the Beach Boys below.


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Tainy has stepped up to the plate as the official music producer for the 2026 World Baseball Classic, marking the first original tournament soundtrack for Major League Baseball.

For the three-track project — out now — the Puerto Rican hitmaker recruited Mexican-American singer/songwriter Becky G, K-pop sensation YEONJUN of TOMORROW X TOGETHER, Puerto Rican rappers Myke Towers and Young Miko, and Japanese artist Fujii Kaze, for a global (and multilingual) sound that mirrors the international spirit of the World Baseball Classic.  

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“It’s all about bringing different cultures and music styles together, and having different types of artists and making a true global record.,” Tainy tells Billboard exclusively. “In Puerto Rico, baseball has always been part of our lives. So celebrating our amazing baseball heritage is something that I always appreciate.” 

Sonically, the tournament soundtrack includes the K-pop-inspired “Make It Count,” the fresh trap song “MVP,” and the electronic dance track “My Place,” all produced by Tainy alongside the creative input of his longtime collaborators Albert Hype and Jota Rosa. 

“This project with the WBC and baseball was more about showcasing the incredible team I have around me,” he expresses. “I’m at a stage in my career that it’s not about me anymore. It’s about creating amazing art with my team that we feel proud of.”

“The World Baseball Classic is a special celebration of national pride and elite competition that resonates far beyond the diamond,” Uzma Rawn Dowler, MLB chief marketing officer and senior vice president, global corporate partnerships, said in a press statement. “By collaborating with a visionary like Tainy to produce our first-ever original soundtrack, we are leaning into the intersection of sports and music to connect with fans on a deeper cultural level. Bringing together the influence of these talented musical artists from around the world allows us to amplify the energy of the tournament and showcase the vibrant spirit that defines modern baseball.”

The 2026 World Baseball Classic runs now through March 17, featuring 20 teams in four pools across Tokyo, San Juan, Miami & Houston.

For the full schedule and ticket information, visit here.

Is February becoming the most important month on the pop stardom calendar? Between the Grammys, the Super Bowl, the heightened pitch of awards season and a number of big names looking to make good early impressions — and this year, even the Winter Olympics having an impact — it seems that the stars were out and in full effect this second month of 2026, effectively shaking off the doldrums of late 2025. (Though as crowded a month as it was, one pop star still clearly lorded over all of it, to a near-unprecedented degree.)

This week on the Greatest Pop Stars podcast, we look back at the jam-packed February that was in pop stardom. Host Andrew Unterberger is joined by Billboard staffers Eric Frankenberg and Meghan Mahar to share and debate our respective February top five lists, while also naming some honorable mentions, some disappointments, and some artists who we’re looking forward to in the next few months of the new year. (If you want to listen back to our January 2026 recap or any of our monthly recaps from 2025, you can check them all out here.)

While recapping the shortest-but-busiest month of the calendar year, we ask all the most pressing questions about February 2026 in pop stardom: How do we compare Bad Bunny’s February this year to Kendrick Lamar’s February last year? Is Ella Langley already a near-lock for the Greatest Pop Stars of 2026? Will Megan Moroney jumpstar the country-disco revival? Did Bruno Mars used to be a lot funnier? Is the “Stateside” remix really that much superior to the original? Do we feel a little bit underserved by the BLACKPINK and/or Baby Keem comebacks? And perhaps most importantly: Why are two out of three of us finding ourselves sobbing to the Hilary Duff album?

Check it out above, along with a YouTube playlist of some of the greatest moments in February 2026 pop stardom — all of which are discussed on the pod — and subscribe to the Greatest Pop Stars podcast on Apple Music or Spotify (or wherever you get your podcasts) for weekly discussions every Thursday about all things related to pop stardom!

And as we say in every one of these GPS podcast posts — if you have the time and money to spare, please consider donating to any of these causes in the fight for trans rights:

Transgender Law Center

Trans Lifeline

Destination Tomorrow

Gender-Affirming Care Fundraising on GoFundMe

Also, please consider giving your local congresspeople a call in support of trans rights, with contact information you can find on 5Calls.org.

The recorded music market grew by 13.7% in 2025, reaching 409.5 million euros ($475.7 million) in industry value, according to the annual report from PROMUSICAE (Producers of Music of Spain), the association that represents over 95% of Spain’s music market.

Music sales — including digital and physical formats — generated 343.7 million euros ($399.3 million), equivalent to 84% of the industry’s total revenue, placing the market at levels similar to those recorded in 2003, though still 26% below the historic peak reached in 2001.

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Among the most consumed albums in Spain in 2025, the report highlights Debí Tirar Más Fotos by Bad Bunny, which topped the annual chart after 51 weeks on the list. The top 10 also included Lux by Rosalía, Cuarto Azul by Aitana, Buenas Noches by Quevedo, Borondo by Beéle, and The Life of a Showgirl by Taylor Swift, as well as albums like Nacer de Nuevo by JC Reyes, Tropicoqueta by Karol G, Lo Mismo de Siempre by Mora, and Omar Courtz’s Primera Musa.

Streaming continued to be the main driver of the music industry in Spain in 2025. This format generated 299.8 million euros ($348.3 million), 13% more than the previous year, accounting for 99.2% of all digital sales.

The majority of that revenue came from premium subscriptions, which contributed 213.8 million euros ($248.4 million), accounting for 71.3% of total streaming revenue. Ad-supported streaming — both audio and video — generated 86 million euros ($99.9 million), though it represents a much smaller portion of the industry’s total revenue despite its high level of usage.

According to the report, more than 21 million Spaniards used audio streaming services in 2025, which is roughly 42% of the population, while over 8 million users had premium subscriptions, an 18% increase compared to 2024.

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In the annual song ranking, the standout track was “La Plena (W Sound 05)” by W Sound, Beéle, and Ovy On The Drums, followed by Yorghaki and Alleh’s “Capaz (Merengueton).” The ranking also features several hits by Bad Bunny, including “Baile Inolvidable,” “NuevaYol,” “DtMF,” and the collaboration “Veldá” with Omar Courtz and Dei V. Other notable tracks of the year included “Mi Refe” by Beéle and Ovy On The Drums, “No tiene sentido” by Beéle, Karol G’s “Si Antes Te Hubiera Conocido,” and “Yo y Tú” by Ovy On The Drums, Quevedo, and Beéle.

Overall, the digital market generated 302 million euros ($350.8 million), accounting for 87.9% of all recorded music sales in Spain. Permanent downloads and other digital formats contributed 2.2 million euros ($2.56 million), although their share of the market continues to decline compared to streaming.

The physical market also saw significant growth in 2025, with revenues of 41.7 million euros ($48.4 million), a 31.6% increase from 2024.

Vinyl continues to be the dominant format, accounting for 69% of physical sales. A total of 2.18 million units were sold, generating 28.9 million euros ($33.5 million), a 44.9% year-over-year increase. CD sales also grew, though more modestly, with revenues of 12.6 million euros ($14.6 million), up 9.1% from the previous year.

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Antonio Guisasola, president of PROMUSICAE, shared his perspectives on the sector’s results for the past year. “The growth of the recording market in 2025 confirms that the efforts and investment of record companies in Spain to support the talent and creativity of artists are delivering results that bring us closer to the figures of 2003,” he said in a statement.

However, the executive warned that the sector still faces structural challenges: “The penetration of paid subscriptions remains lower than in other markets around us, so it is necessary to continue strengthening this model to ensure fair compensation for creators,” he added.

The report also highlights that piracy remains a significant issue, with 34% of consumers accessing content illegally, which is estimated to have an economic impact of 722 million euros ($838.8 million) on the music industry.