Lizzo returned Friday (June ) with her first album in four years, BITCH, hitting streaming services. Shortly after the project’s arrival, the Detroit native shared an alternate edition of the LP’s title track, which seemingly finds her taking aim at Nicki Minaj.

Lizzo reposted a screenshot of Minaj’s tweet from Feb. 1, which saw the Queens rapper mocking Lizzo’s weight loss and upcoming album.

“Fat Lizzo lost 300 lbs just to sell 300 albums,” Minaj wrote at the time alongside a photo of a Chucky doll. “So now she has loose skin AND a flop album, AND a weird charge. Sheesh.”

Lizzo put the audio of the remixed version of the album’s title track over the screenshot of Minaj’s tweet with the caption, “Since I’m blocked.”

“Used to be the biggest fan, then I lost weight/ Wait, wait, let me fixate,” she raps. “Paid to keep the peace, I don’t even like beef/ Crazy thing is you knew me you would like/ I’m praying for our sisters, I want to see us all in our bag.”

Since I’m blocked… pic.twitter.com/sbJnemz0jm

— LIZZO (@lizzo) June 5, 2026

As of press time, the “Super Bass” rapper is yet to respond to Lizzo.

Lizzo’s BITCH is her first album since 2022’s Special, which contained the Billboard Hot 100 No. 1 hit “About Damn Time.”

“Reclaiming the word ‘bi—’ is power. It’s taking a label once used to diminish women and turning it into a declaration of confidence and unapologetic self-love,” the “Truth Hurts” artist said in a statement. “So many incredible women in music have used the word for positivity like Meredith Brooks and Missy Elliott. It was only fitting to name my album BITCH because it has become my favorite word when using it on my own terms, and because I am 100% that bi—!”

Billboard has reached out to reps for Minaj for comment.

Florida Georgia Line has signed with The Core Entertainment for management, further signaling that one of country music’s most successful duos is back in business together.

The Core Entertainment had already begun managing FGL’s Tyler Hubbard as a solo act several months ago, but has now added the group, which is composed of Hubbard and Brian Kelley.

The pair went on hiatus in 2022, with each releasing solo music, but reunited in March at Country Radio Seminar to help honor Jason Aldean. They then popped up at Nissan Stadium Thursday night (June 4) for CMA Fest, announcing, “We back, baby!” after playing “Round Here” and “Cruise.”  

“CMA Fest, it feels so good to be here with my brother,” Hubbard said from the stadium stage. “And listen, we got three things we want to say tonight. First of all, God is good. Second of all, life is short. And most importantly, your boys … we back, baby!”

There is no word on whether the pair is working on new music, but Billboard has learned that more FGL live shows are coming in 2027. The pair’s last album was the deluxe version of 2021’s Life Rolls On, which came out on Nashville Harbor (formerly known as BMLG Records).

FGL have been dropping hints that a reunion was coming. In January, Kelley posted a video on Instagram of himself and the words “after going on the hike with T-Hubb” that then segued into a video of Jon Hamm as his Your Friends & Neighbors character tripping out at a club.

The post drew a slew of comments, including from Hubbard, who responded with two walking emojis and a pumped bicep, while HARDY wrote, “Do I need to start writing FGL songs again?” and ERNEST wrote, “The hike heard round the world.”

On the red carpet at the Academy of Country Music Awards last month, Hubbard said the pair had been “flirting with the idea of playing a handful of shows next year.”

Following the duo’s massive debut single, 2012’s “Cruise,” FLG followed up with a slew of hits, including “Round Here,” “Stay,” “This is How We Roll,” “Dirt,” “H.O.L.Y.,” “Simple” and “Long Live.”

The Core Entertainment, helmed by co-founders/co-CEOs Simon Tikhman and Kevin “Chief” Zaruk, also manages Nickelback, Dan + Shay, Bailey Zimmerman, Nate Smith, Cameron Whitcomb and Josh Ross, among others.

The crowd in Times Square at 5 p.m. on Thursday (June 3) appeared normal. Tourists posed with giant Labubus and Transformers, and those pushing past to get from A to B faced no more difficulty than usual. But at 6:27 p.m., two secret doors inside a billboard three stories above Broadway opened up and the Queen of Pop emerged. For the next 15 minutes, Madonna took to the small stage overlooking the street to perform her two new singles from her new album Confessions II, as well as favorites from Confessions, as thousands of adoring fans looked on from the street below.

Behind the scenes, the moment took years of careful planning. Madonna’s performance, which captured attention globally and served as a marketing ploy in partnership with Grindr to celebrate Pride Month and help support her current album campaign for Confessions II, was tied to the official launch of new venue The Square. And its location, directly on Broadway and 47th Street in the heart of Times Square, makes it one of the more sensational, and secretive, venues in the city.

“We thought she was the right person to talk across multiple generations of fans,” says Jeff Marks, CEO of Innovative Partnerships Group, which was involved in the venue’s creation. “You don’t get someone better than her who can talk to anyone in the world.”

Built beneath the Hilton Tempo Hotel, The Square features 10 floors of spaces designed for brand experiences and live performances. The venue, where brands can bring in artists to perform on stage — both inside the building and on the small stage semi-hidden within the billboard overlooking the street — and blast videos to its digital billboard, is the result of a multi-billion-dollar investment. (Innovative Partnerships Group did not provide an exact figure.) 

“It was built for curators, content creators, influencers to create cultural moments,” Marks says. “The Square was built for a digital world.”

While the Madonna show marked the venue’s official opening, The Square isn’t necessarily new. Charli xcx famously performed at the venue for an H&M partnership during her brat era, and Shakira and Post Malone have also utilized the stage to help promote albums in the last few years. 

“When an artist wants to do their album drop, they play here because you come on stage and it becomes global overnight,” Marks says. “And what we’ve been told by each artist that tested The Square to date is that, when they did their next album drop, it was the most successful launch of all their albums.” 

According to Marks, each of the previous editions of The Square shows were test runs for the venue’s viability. With Madonna, The Square is now open in its entirety, including the second-floor broadcast studio, the Palace Theater — which was hydraulically moved up to the third and fourth floors on the back half of the property — and an events space on the ninth floor. Artists performing at The Square don’t even have to leave the premises throughout their stay in New York City; they can go straight from their room at the Hilton Tempo Hotel to the stage on Times Square.

While there’s only a 15-minute window for performers to take the stage — due to restrictions put in place by the city for open-air pop-up events of that scale — the space can hold a smaller group of fans inside and can close, with the concert completed behind the screen. Fans passing by Times Square who want to hear the rest of the concert happening inside can scan a QR code and stream the audio from their personal listening devices. The QR code serves a dual purpose, allowing brands to know who’s engaging with their content. To comply with city permits, shows can’t be announced until 30 minutes in advance to prevent too large a crowd from forming.

“Every single time, it fills up and goes all the way down to 42nd or 43rd [Streets],” Marks says. “It feels like millions and millions of people, and you can’t move. Three hours ago, no one knew this was going to happen.” 

Inside, The Square features technology allowing artists to broadcast on the venue’s digital billboard by tapping their phones and communicating to the masses in Times Square in real-time. 

“It’s a safe place for artists to stay here and live in residency,” Marks says. “Your private backstage elevator drops you off at each floor. You can still communicate, because you’re interacting with your fans on the screen. You can [also] pop out and look down on them, but you’re in a safe environment.” 

Within the space are various greenrooms and places for brand activations or interviews. The shows themselves aren’t ticketed and are meant to create a moment — easy to do in Times Square, which regularly sees foot traffic of 200,000 to 250,000 people per day, according to the Times Square Alliance. Beyond that, the venue is also designed to create a moment across social media. 

“The smart brands are the ones not asking how many people were there, but how many people will see this,” Marks explains. While performances are only 15 minutes long, they still allow for consumable events that can trend on every social media platform. 

“The Square is a music venue, but it’s really for brands and advertisers to have a place to showcase a new product or service,” Marks says. “You could do a concert; you could bring your products on stage. [A company] can get all of their store vendors to be part of it as well. So, all of a sudden, you’re getting a $1 billion showroom, and you can choose your most critical days to do it.” 

In addition to the mainstage out in Times Square, more intimate spaces for VIP performances are located indoors, which aren’t beholden to the 15-minute time limit. 

Outside of concerts created as part of a brand activation, The Square will generate revenue via product launches, event rentals, film/TV shoots and pop-up retail. Those wanting to utilize the venue are provided with several options at different price points competitive with other venues in the area. They can host smaller private events hosted on the ninth-floor outdoor terrace or 10th floor interior space. Medium-sized events — such as pop-up retail and brand experiences on the venue’s ground floor, broadcast and content studio rentals on the second floor with Times Square as a live backdrop for private concerts, and speaking engagements or industry events on the third and fourth floors — come with some fees. Higher fees are in place for larger-scale events, like the Madonna concert that takes place on the third-floor stage (which requires advance permitting to manage the crowds and traffic), and extra-large events, where brands are able to take over every screen in Times Square.

The goal for The Square is to host 10 to 12 large events each year, where an artist can come in and perform for audiences on the street. The venue aims to have a similar cultural impact to Sphere in Las Vegas, though it’s also a more cost-effective place for artists to perform: Artists don’t have to spend a significant amount of money on the production, as the billboards across Times Square include a livestream of the set on stage and promote the project — in Madonna’s case, Confessions II .

Says Dave Cogan, partner and head of creative solutions at Innovative Partnerships Group: “The authenticity of the integration with the experience is what’s most valuable for brands now.”

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

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Kanya King CBE, founder and CEO of the MOBOs, has died at 57, the organization has confirmed.

In a press statement, the MOBOs (Music of Black Origin) said that King “passed away peacefully after a courageous and characteristically determined battle with colon cancer” on Wednesday (June 3). They add that she was “surrounded by her family, close friends and love.”

King was the cofounder of the MOBO Awards which celebrated a landmark 30th anniversary in 2026. The event, which celebrates music of Black origin both domestically and around the world, was held annually with 2026’s edition seeing performances from Olivia Dean and FLO.

Throughout the years, Stormzy, Amy Winehouse, 50 Cent, Sade, Central Cee and more all received prizes from the MOBOs, with Rihanna (2006), Lauryn Hill (2005), and Destiny’s Child (1999) all performing at the event over the years.

“What Kanya created was never simply an awards ceremony,” the statement adds. “It was an act of cultural justice. MOBO did not just celebrate Black music; it legitimised it, amplified it, and demonstrated its commercial and creative power to a world that had too often chosen not to see it.”

In 2024, King announced her diagnosis of stage four colon cancer. At the MOBOs in February 2025, King said that “I never allowed someone to define my limits. Not in life. Not in business. And I’m certainly not going to have that happen now.”

King was born to a Ghanaian father and Irish mother in Kilburn, north London in 1969. She was working as a TV researcher when she founded the MOBO Awards in 1996 alongside Andy Ruffell.

Speaking to Billboard U.K. in March, she said that at the time “there was no real infrastructure or clear pathways for Black music here. Institutional recognition was virtually nonexistent.” King remortgaged her house to fund the awards which were attended by Tony Blair, who would later be elected as the U.K.’s prime minister.

Over the years, the MOBOs spearheaded and reacted to growing U.K. scenes including garage music and grime. “We’ve helped artists move from underground to mainstream and from local to global,” King told Billboard U.K. “We’ve validated some of the genres that were sometimes often dismissed. Whether that was early U.K. R&B, garage and grime to Afrobeats. In many cases, the MOBOs gave artists their first national platform at a time when others wouldn’t.”

The MOBOs also hosted a number of social initiatives to empower Black creatives. The House of MOBOs, for example, was established earlier this year as a place “where people can come together to celebrate, collaborate and build.”

King was awarded an MBE (Member of the Order of the British Empire) in 1999 and elevated to a CBE (Commander of the Order of the British Empire) in 2018.

“The world was a profoundly better place with Kanya King in it,” the statement adds. “The MOBO family is heartbroken, but also endlessly grateful, proud and inspired by everything she gave to music, culture and the generations who will follow in her footsteps.”

King is survived by her son, Jem.