AI music company Suno is in the midst of a series D funding round, sources familiar with the raise tell Billboard. The news follows six months after Suno’s Series C round, which resulted in a $250 million raise, led by Menlo Ventures, bringing the AI music company’s valuation to $2.45 billion.

This round is expected to close in the coming weeks and will likely raise above the $250 million mark, as it is typical for funding rounds to continue to mount greater sums if the startup has continued to grow. According to a source familiar with the matter, multiple music industry investors are involved in the ongoing Series D round, and music industry investors have been putting money into each of Suno’s rounds, although most of them ultimately keep their support of the still-controversial AI music firm private. One notable exception to this is Hallwood Media, started by record executive Neil Jacobson, which made headlines last year by signing the first known record deals for talent who create music largely using Suno.

Little is known about how Suno plans to spend its money from the Series D round, but a look back at the investor materials for its Series C round, which Billboard obtained in the fall, noted that the company’s biggest expense since January 2024 was compute power — the hardware, processors, memory, storage and energy that operate data centers — which is expected for AI firms, looking to scale fast with the nascent and capital-intensive technology.

A pitch deck for the Series C round also revealed that the round would be allocated to 30% computing power; 20% mergers and acquisitions; 20% discovery; 20% marketing; 15% data; and 5% partnerships.

Since the Series C round was announced on Nov. 19, 2025, Universal Music Group and Warner Music Group separately announced licensing deals and settlements with then-Suno competitor Udio, and as part of UMG’s particular agreement with Udio, the rival AI platform would pivot its business away from creating new AI-generated songs from simple text prompts, like Suno does, to being an AI-powered remixing platform for existing music.

Around that same time, Suno announced a licensing deal and settlement with WMG, which included the acquisition of SongKick and the promise that it would limit user downloads of AI-generated songs and relaunch a model trained on licensed works in 2026. (This effectively ended WMG’s participation in the $500 million copyright infringement lawsuit filed by Universal Music Group, Sony Music and WMG in June 2024, which alleged that Suno trained on copyrighted sound recordings illegally. Sony and Universal are still pursuing that lawsuit.)

In January and February, it became increasingly clear that UMG and Suno did not see eye-to-eye on the future of AI music, and it was unlikely that their legal battle would resolve quickly. In a January episode of Billboard’s On the Record podcast, UMG chief digital officer and executive vp, Michael Nash, said that Suno’s disinterest in making its service into a so-called “walled garden,” where no songs can exit their own platform to be uploaded to streaming services, is a reason why their part of the lawsuit is still ongoing. “That’s kind of a hat-hanger in this discussion,” Nash said on the podcast.

Just days after Nash’s interview aired, Suno’s chief music officer Paul Sinclair took to LinkedIn to write a lengthy post called “Open Studios, Not Walled Gardens,” writing, “for [this] promise [of AI-led music innovation] to be real, these tools can’t just be toys inside a box.”

Most recently, a new Luminate survey found that U.S. consumer interest in listening to AI-assisted music declined across all age groups from when they were first surveyed in May 2025 to November 2025. Still, Suno recently became the No. 1 music app in the Apple app store and peaked at No. 22 across all categories, showing signs of its continued growth.

“Bring Your Love,” Madonna and Sabrina Carpenter‘s new song release, tops this week’s best new music poll.

Listeners voted in a poll published Friday (May 1) on Billboard, choosing the pop star team-up as their favorite music release this week.

“Bring Your Love” rose to the top in a week that also delivered new music from Zara Larsson, Kacey Musgraves and Bella Poarch, plus the new soundtrack accompanying the box office hit The Devil Wears Prada 2. At the poll’s closing time on Sunday, Madonna and Sabrina had amassed an overwhelming 88.99% of the vote.

Interestingly, there was a Madonna and Devil Wears Prada crossover over the weekend in movie theaters, where a teaser for Madonna’s upcoming Confessions II album played ahead of the film. The promo spot featured Madonna and Vogue‘s Anna Wintour, who’s ready to hear the confessions to come on July 3.

But first, it’s time for “Bring Your Love” to shine. The Madonna x Sabrina duet is meant for the dancefloor, or at least meant to put your mind in that transcendent space.

The pair debuted the single in Madonna’s surprise guest appearance during Carpenter’s recent Coachella set, then officially unleashed the studio version of the song on Friday. With it came a vibrant visualizer that puts the lyrics of “Bring Your Love” front and center, in bold text. On the track’s verses, the two artists make declarations like “Don’t comment on my ideas/ I don’t want your judgment or your expectations” and “Don’t rely on my moral compass/ Or my discretion, I have a confession.”

The chorus: “Bring your love ’cause you cannot shake me/ Bring your love ’cause you’ll never break me/ Bring your love ’cause you cannot take me down.”

Madonna co-produced “Bring Your Love” with longtime collaborator Stuart Price, who worked with her on 2005’s Confessions on a Dance Floor and has maintained the musical director position on several of the star’s tours.

Among the new releases trailing behind “Bring Your Love” on the poll this week are Bella Poarch’s “Ribcage,” Zara Larsson’s Midnight Sun: Girls Trip album, Kacey Musgraves’ Middle of Nowhere album and the soundtrack for The Devil Wears Prada 2; the sequel to the original 2006 film leads the box office this weekend, opening with $77 million in North America and $156.6 million overseas, for a global total of $233.6 million.

See the final results of this week’s poll below.

Donald Trump is claiming that his dance moves to the Village People’s “Y.M.C.A.” helped drive a resurgence of the song on the Billboard charts.

During a speaking engagement at The Villages retirement community in Florida on Friday (May 1), the U.S. president took credit for the 1970s smash hit topping Billboard’s Top Dance/Electronic Digital Song Sales chart in late 2024, more than four decades after its original release.

“That song was No. 5 32 years ago, and it went to No. 1 32 years later,” Trump incorrectly stated during his speech. “It went to No. 1 for months during the last months of the campaign.”

The ubiquitous disco-era track — described by Trump as the “gay national anthem” — was frequently used during his 2024 presidential campaign and spent two weeks at No. 1 on the Top Dance/Electronic Digital Song Sales chart that November. Following its original release in late 1978, “Y.M.C.A.” peaked at No. 2 on the Billboard Hot 100.

In December 2024, Village People founder Victor Willis spoke out about why he allowed Trump to use “Y.M.C.A.” at rallies and events leading up to his election win. The musician originally asked Trump to stop using the song in 2020 but later reconsidered after realizing that the politician seemed to “genuinely like” it and was “having a lot of fun” with “Y.M.C.A.,” he wrote in a lengthy Facebook post in late 2024. Willis also noted that the dance tune has only “benefited greatly” in terms of chart placements and sales since Trump incorporated it into his campaign.

“Therefore, I’m glad I allowed the President Elect’s continued use of Y.M.C.A.,” Willis wrote. “And I thank him for choosing to use my song.”

During his speech on Friday, Trump also noted that his wife, Melania Trump, isn’t a fan of his onstage reaction to “Y.M.C.A.” “She hates when I dance to what is sometimes referred to as the gay national anthem,” the president said. “She hates it.”

He added, “We love that song. But [Melania] goes, ‘Darling, please.’ You know, she’s a very elegant woman. She goes, ‘Darling, please don’t dance. It’s not presidential.’ I said, ‘It may not be presidential, but I’m leading by 20 points in the polls or something.’ ”

Trump ended his speech by showcasing his signature dance — featuring fist pumps and hip shakes — as “Y.M.C.A.” played at the close of his address at the Florida retirement community.

The Australian Recording Industry Association has announced the six artists set to be inducted into the 2026 ARIA Hall of Fame, with the ceremony scheduled for June 11 at Carriageworks in Sydney as part of the ARIA Awards’ landmark 40th anniversary celebrations, in partnership with Spotify.

Gurrumul, Jenny Morris, Kate Ceberano, Spiderbait, The Living End and Vika & Linda will join a distinguished group of previous inductees that includes AC/DC, INXS, Kylie Minogue, Crowded House, Cold Chisel, Jimmy Barnes, Archie Roach, Missy Higgins, Kasey Chambers, Olivia Newton-John and Yothu Yindi.

The late Gurrumul — born Geoffrey Gurrumul Yunupingu of the Gumatj clan of Elcho Island in Arnhem Land — remains one of Australia’s most culturally significant artists. Blind from birth, the Indigenous singer-songwriter rose to international acclaim with his 2008 self-titled debut album, which drove more than 500,000 worldwide sales. During his lifetime he performed for Queen Elizabeth II, U.S. President Barack Obama, and was one of only two Australian performers at the Queen’s Diamond Jubilee Concert at Buckingham Palace. He received 22 ARIA Award nominations and 10 wins alongside 16 National Indigenous Music Award wins before his passing in 2017 at age 46.

Jenny Morris rose to prominence in the 1980s and ’90s, first with QED and INXS before launching a successful solo career that produced multiple platinum albums including Body and Soul (1987), Shiver (1989) and Honeychild (1991). She won back-to-back ARIA Awards for Best Female Artist in 1987 and 1988, and toured internationally alongside Prince, INXS and Paul McCartney. Beyond performing, Morris has been a significant industry advocate, serving as chair of the APRA board and founding Art of Music, a charity fundraiser for music therapy organization NORO, which celebrates its 20th anniversary this year.

Kate Ceberano first broke through in 1984 as the lead vocalist of I’m Talking, before achieving her first Platinum solo album, Brave, in 1989. Across more than four decades she has released 31 albums and 57 singles, holding the rare distinction of being one of only four Australian artists — alongside AC/DC, Midnight Oil and Kylie Minogue — to achieve top 10 albums across five consecutive decades. She holds 22 ARIA nominations and five wins.

Spiderbait — Janet English, Kram Maher and Damian Whitty — formed in the NSW Riverina town of Finley in 1989 before relocating to Melbourne’s punk underground. Their 1996 album Ivy & The Big Apples debuted in the ARIA Top 3 and went Double Platinum, featuring “Buy Me a Pony,” the first Australian song to top the triple j Hottest 100. The band’s “Black Betty” later reached No. 1 on the ARIA singles chart. Today, the band generates more than 100 million streams annually, with over 70% of their listenership based outside Australia.

The Living End — Chris Cheney, Scott Owen and Andy Strachan — have been one of Australia’s most significant rock acts since their 1998 self-titled debut, which went four-times Platinum, debuted at No. 1 on the ARIA chart and charted for 83 weeks. Their single “Second Solution / Prisoner of Society” became the biggest Australian single of the 1990s, and the band holds the record for most consecutive entries in the triple j Hottest 100 from 1997 to 2006. They have collected five ARIA Awards from 29 nominations, and most recently debuted in the ARIA Top 5 with I Only Trust Rock ‘N’ Roll.

Sisters Vika Bull and Linda Bull rose to prominence as key members of The Black Sorrows before forging a successful career as a duo spanning four decades. Their 1994 self-titled debut reached the ARIA Top 10 and went Platinum, and their greatest hits compilation Akilota (Anthology 1993–2006) reached No. 1 in 2020. They have collaborated with Paul Kelly, Kasey Chambers, Archie Roach and Renée Geyer, received the Order of Australia Medal in 2022, and release their ninth studio album, Where Do You Come From?, on June 5.

ARIA CEO Annabelle Herd said in a statement that the inductees “represent the depth, diversity and enduring influence of Australian music across generations,” adding: “As we mark 40 years of the ARIA Awards, it feels especially meaningful to honour these artists whose work has defined moments in time and continues to resonate with audiences today.”

The 2026 ARIA Hall of Fame Special Event takes place June 11 at Carriageworks in Sydney, in partnership with Spotify and supported by the NSW Government through Sound NSW. The 2026 ARIA Awards will be held Nov. 18 at Sydney’s Horden Pavilion, streaming live on Paramount+ and broadcasting on Network 10.