Despite an initial lineup shared Wednesday (May 27), Morris Day is denying that he and his band The Time will play the Great American State Fair event celebrating America’s 250th anniversary.

In an Instagram post shared later in the day, Day wrote, “Contrary To Rumor, Morris Day & The Time Will Not Be Performing At The ‘GREAT AMERICAN STATE FAIR.’” A caption for the post adds “It’s a no for me,” with a smiley-face emoji wearing sunglasses.

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Morris Day & The Time were listed among the first performers announced for the 16-day event on Washington, D.C.’s National Mall, which is set to kick off June 25 and wrap July 10. The eight other acts on the lineup shared by Freedom 250 were Martina McBride, Flo Rida, Young MC, C+C Music Factory, Vanilla Ice, Milli Vanilli, The Commodores and Bret Michaels.

A Great American State Fair description on the Freedom 250 website reads: “The celebration will unite and showcase all 56 U.S. states and territories in a single World’s Fair-scale event. This is an opportunity for visitors from across America to experience an unforgettable celebration of the people and traditions that define our nation.”

Morris Day & The Time were founded in Minneapolis in 1981 by Prince and featured heavily in the pop superstar’s 1984 Purple Rain film. Their Ice Cream Castle album from that era spawned two Billboard Hot 100 top 40 hits — “Jungle Love” (No. 20) and “The Bird” (No. 36) — while their 1990 comeback album Pandemonium included their highest-charting hit “Jerk Out,” peaking at No. 9 on the Hot 100 and topping the Hot R&B/Hip-Hop Songs chart.

As the title character of The Who’s Tommy in its 2024 Broadway revival, Ali Louis Bourzgui sang the show’s most famous refrain: “See me, feel me, touch me, heal me.” That production ran for a too-short four months, but Bourzgui’s haunting voice and magnetic presence left a lasting impression. And two years later, those words he sang as Tommy encapsulate oddly well the ethos — both spoken and not — of his latest role.

As David — the vampire rock star of The Lost Boys, the new musical based on the ‘80s cult-favorite movie of the same name — Bourzgui has to believably telegraph both seductive danger and deep hurt, while often flying high above the stage (and rocking one of the more memorable wigs ever seen on Broadway). The role was made famous in the film by a young Kiefer Sutherland, but Bourzgui imbues it fully with his own charisma — a performance that earned him a Tony nomination for best featured actor in a musical.

“You get auditions sent to you, and most of them, you’re kind of like, ‘This is cool, I can’t really get a grasp of the vibe of this show, but I’ll audition.’ And every once in a while, something comes through where you just feel it tangibly, even through an email,” Bourzgui recalls of first hearing about The Lost Boys. “I saw this initial packet, and I got so excited — like more excited than I’ve been for an audition maybe ever.” 

Much of that had to do with meeting Tony-winning director Michael Arden and hearing demos by The Rescues, the Los Angeles indie band who wrote music and lyrics for the Lost Boys (“I was like oh, these songs are f—ing cool”). But the character of David himself was, Bourzugui says, “so well-written from the start.” Overall, he was struck by how The Lost Boys, despite its big show intentions (and budget), felt like something more intimate, built from the ground up — a feeling that the production ultimately preserves even in the uniquely cavernous space of Broadway’s Palace Theater. 

With traces of glitter still on his face from the day’s matinee, Bourzgui (who is himself a singer/songwriter) spoke to Billboard from his dressing room before a much-needed physical therapy session about how to play a non-cliché vampire, his rock star inspirations, and embracing his own unique voice. 

Movie-to-musical adaptations are popular these days, but it’s rare that they actually work well — and this is one of those rare ones that feels natural onstage. Did you get that sense from the beginning?

Yeah, and I also don’t think I necessarily would have sprung for it if it felt like a generic movie remake, because that’s not the kind of thing I want to be doing. I’ve always kind of been one of those audience members who’s been a little “harrumph” about everything being a movie musical, everything coming from [pre-existent] IP; I am an absolute supporter of completely original work, so that’s what I usually dive towards. But I could tell that this was that, still, somehow. And it’s only proven to be true, and I think it’s also why people are connected to it. [The creative team] never set out to do a remake. It’s not a jukebox musical; if we just used the movie’s soundtrack — all those songs are great, I listen to that album all the time, but they wouldn’t move the plot forward. We didn’t really do anything that’s like copy-paste; the whole thing is in many ways an original work.

It manages to preserve that scrappy “let’s put on a show together” feeling…

There’s a lot of newbies in the room, and I mean that in a positive way. The Rescues were brand-new to this, and so their music was just a true labor of love — they had no jadedness. Apparently they wrote, like, 50 songs for this thing before we got started! And [book co-writer] Chris Hoch is no stranger to the stage, but [book co-writer] David Hornsby is a TV writer, and so for him coming into the theater world and bringing that sort of TV writing sense did so much for this too. Dean Maupin, our drummer, he’s a model and a musician, and he was like, “I kind of want to get into acting,” and all of a sudden his first thing is this Broadway show! We all feel comfortable in this space, because no one has set up any kind of a thing where people have to feel bad for being new at all. 

You have this really unique voice, and thus far in your career it seems like you’ve had the luck of getting to do these non-traditional musicals — in addition to Tommy, you recently played Orpheus in Hadestown and got to do the new musical We Live in Cairo at New York Theater Workshop, where Rent originated. Before you got to Broadway, did you want a more traditional career — or was it always your aim to do something different?

I’m not unaware of how crazy lucky I am, for, like you said, having done this many cool things in such a short amount of time. I’ve always been drawn to new work, and I also have always written my own music, but I think I did get lucky falling in these rooms that were pushing these boundaries. I also think playing guitar kind of got me in some of these places too. I got to do Hadestown — and in all three of these shows, part of my audition process was being able to play guitar. I’ve always wanted to be a character actor, but that sometimes comes as being a secondary [role], so it’s been nice to play some sort of leading roles where I also get to be a chameleon.

Did elements of playing Orpheus and Tommy prepare you to do David?

With both of those shows, I needed to learn what my voice was, because, like you said, it is a little different. I was hard on myself in college, because I wanted to sound like the people I heard on Broadway who were making it, and that was such a very clean sound, and I always had a bit of a rasp, which now I like because it’s great for rock, but I always had a different timbre and was trying to morph it into something else. [But] the minute I started leaning into it, that’s when I started getting jobs.

Tommy and Orpheus were both huge vocal lifts, so I learned how to work on stamina and how to protect my instrument. In this show I’m singing a lot of rock but also screaming and trying to be scary. I also think it was really nice to play Orpheus before David, because they are so different, but I think what makes David effective is having an Orpheus inside of him, like a Russian doll — like, this sweet little boy who wants to fix the world, but somewhere along the way he got really f—ed up. 

Much has been made of your excellent wig, but I’m equally interested in what it’s like to sing with vampire teeth — I’d imagine it’s a complicated saliva situation? 

The teeth are interesting. It’s actually not that hard at all — they’re like Invisalign, they just click in. It’s a mock of my actual teeth, and then they cut out the back plastic, so I can just have the fangs and sound normal. The saliva thing is an aspect… I’ve been usually okay, but there have been a few times, like right after the first time I wear them, I fly up into the air where I’m singing, and there’s literal drool hanging down. [Laughs]

Movement — the flying of course, but also just how you carry yourself — also feels like a huge aspect of how you’ve built this character…

100%, I wanted to go in and make the vampire of it all not cliché or cheesy. So I thought that it would be effective to really figure out what [David’s] body was like — I think he’s technically over 100 years old, or at least in his late 90s. What would it be like for someone like that to be in the body of a 20-year-old, and when does that wax and wane? A lot of the show, I’m really fast, and I’ll do something kind of athletic, and then there are moments when I think he lets the weight of the world slip in on him, and he kind of remembers everything he’s been through in the past century. The whole rock star thing is a character to him, so that he can disassociate from his truth. I’ve also played with the movement pattern of him being like a snake — this sort of slithery thing. All those little touchstones help me make this a real guy with layers.

Are there particular people who you’re channeling in your portrayal of David too? 

I would say the three main people I’m drawing inspiration from are Tim Curry, David Bowie and Sam Reed, who plays Lestat on the Interview With The Vampire TV show right now. Especially David Bowie in Labyrinth, where it’s a little weird, and you’re like, “What is this guy doing? This is crazy,” but there’s also kind of a connection to gender queerness too.

After seeing you in Tommy, my first thought was actually that you gave me major young Tim Curry vibes! Would you do Frank-N-Furter in Rocky Horror? 

Tim Curry has always been a huge, huge, huge inspiration for me, 100%. I would love to do that part for sure.
 

YG has spent plenty of time at gentlemen’s clubs around the globe, and he’s launching his own, in a way. The Compton native announced on Wednesday (May 27) that his seventh studio album will be titled The Gentlemen’s Club.

The “Who Do You Love?” rapper revealed that The Gentlemen’s Club is slated to arrive on June 19. He also posted the LP’s cover art, which finds YG delivering a menacing stare while rocking a suit coat jacket and a black glove, while pointing to his head with his fingers in the shape of a gun.

Fans seemed to be hyped that the 4-Hunnit CEO is returning to heat up the summertime. “Summer finna be lit,” one person wrote in his IG comments. Another added: “Oh yeah big summer happening!”

After spending a majority of his career at Def Jam, YG also signed a new deal, which will find him partnering with 10K Projects for The Gentlemen’s Club. The move marks his first major label deal in nearly five years, according to a press release.

YG has released pair of singles in 2026 already, including “TEACH YUH HOW TO LOVE ME” featuring frequent collaborator Ty Dolla $ign and “State of Emergency.”

The 36-year-old’s last project arrived in 2024 with his JUST RE’D UP 3 mixtape. The double-disc project featured Lil Yachty, G Herbo, Mozzy, Babyface Ray, Tee Grizzley, Ty Dolla $ign, Saweetie and Mustard.

As for his most recent studio album, YG released I Got Issues in 2022, which debuted at No. 18 on the Billboard 200.

Find YG’s cover art for The Gentlemen’s Club below.

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Every month, Billboard Latin and Billboard Español editors spotlight a group of rising artists whose music we love. Think “diamantes en bruto,” or “diamonds in the rough.” These are newcomers who have yet to impact the mainstream — but whose music excites us, and who we believe our readers should make a point to discover.

Our latest edition of On the Radar Latin includes a wave of emerging artists, who we discovered by scrolling on social media, networking, or coming across their music at a showcase, for example. See our May 2026 recommendations below.

Name: DIA

Country: Puerto Rico

Why They Should Be on Your Radar: DIA has quickly become a strong force in the música urbana space since his debut single in 2020, “ONEMVNARMY.” The artist born Alexis Díaz kicked off his six-year career as a songwriter and producer for artists such as J Balvin, Rauw Alejandro, and Yandel. Now, at the forefront with a progressive solo career, DIA’s signature trapsoul and reggaetón sound is backed by his sultry, smooth vocals as heard in “¿te ACUERDAS de mi?,” “SUSTANCiAS CONTROLADAS,” “Pidiendo Saoco,” and “LLamando de Nuevo,” to name a few.

The rising Puerto Rican artist — who’s a Latin Grammy nominee and a skilled piano player — became popular name in 2023 with his participation on “Merry Remix” with Jay Wheeler and Randy Nota Loca. In 2025 he dropped his debut studio album ¿QUE DICEN EiAS? (Casablanca Records/GLAD Empire), and he’s currently making the rounds with the ultra-perreo “Super Estrellá” in collaboration with Yomo, Alejo and Subelo NEO. — JESSICA ROIZ

Song for Your Playlist: “Llamando De Nuevo”

Name: El de la Tinta

Country: Mexico

Why They Should Be on Your Radar: El de la Tinta (real name: Ulises) is quickly becoming a sensation, thanks to the viral hit “Holanda” with Angel Cervantes and Sahir Montoya, and its catchy “ra-ta-ta” chorus. This song has ignited a creative wildfire, especially on Tiktok, where it boasts over 500,000 video creations — including Tito Double P and Manuel Medrano jumping on the trend. During the pandemic, Ulises picked up the guitar, but driven by his shyness, he first released his music anonymously online. As his confidence grew, his corridos tumbados struck a chord with a new generation. His songs weave together acoustic guitars, the rich resonance of the toloche, and soulful trumpets, creating a lush soundscape for his vocals — a gentle rasp that radiates warmth and sincerity. This unique mix of instruments and heartfelt vocals brings to life songs about heartbreak, like “Ojitos Marrones” and “Insomnio,” and celebrates love in tracks such as “Besitos” and “La Niña De Casa.” — INGRID FAJARDO

Song for your Playlist: “Holanda” feat. Angel Cervantes, Sahir Montoya

Name: Emjay

Country: Mexico

Why They Should Be on Your Radar: This singer-songwriter has emerged as one of the most intriguing new voices in Mexico’s latest generation of pop, thanks to her natural, raw, and uninhibited style—inspired by alternative rock aesthetics, or what she herself has dubbed “Heavy Pop.” Her introspective lyrics and explosive stage presence position her as one of the finest performers on the country’s current music scene; her appearance at the Tecate Emblema Festival earlier this month was a testament to this, as she stood out as one of the top acts.

Emjay (a name derived from her initials, María José) began her career in the trap and hyperpop genres, with projects such as LAS MORRAS TAMBIÉN HACEN TR444P. However, her latest EP, Confesiones De Las Que Me Voy A Arrepentir — released last March via Warner Music Mexico — marks a turning point in her career, featuring ’90s-style guitars and a rawer, more emotive energy. She recently served as the opening act for Doja Cat at the Palacio de los Deportes in Mexico City. Her “Pop Pesado 2026” tour across Mexico has already been announced, with several dates scheduled for the coming months. — NATALIA CANO

Song for your Playlist: “Bellaka”

Name: Los Dos De Tamaulipas

Country: Mexico

Why They Should be on Your Radar: So far in 2026, the Mexican duo has made a surprising and successful breakthrough in the Regional Mexican music scene. Their single “El Chavalón” reached No. 1 on the Regional Mexican Airplay chart and No. 2 on Latin Airplay; the same success followed with the tracks “Supercargada” and “Ayúdame,” both included on their album Expansión, released in April. This album paved the way for their first U.S. tour with more than 40 sold-out dates.

With their traditional norteño music and a distinctive performance style, brothers Rolando and Orlando Zapata have joined the ranks of Regional Mexican music — no longer merely as rising prospects, but as established fixtures. Artists such as El Fantasma and Luis R Conríquez have collaborated with and championed these singer-songwriters, who hail from Tamaulipas in northern Mexico. The duo was recently honored by ASCAP for the success of their compositions featured on the album Arriba La Compañía, released last year. — TERE AGUILERA

Song for your Playlist: “El Chavalon”

Name: Omar Camacho

Country: United States

Why They Should be on Your Radar: Born in San Diego, California, Omar Camacho is part of the urban music movement of Mexican-American singers who fuse their style with leading figures of the new Regional Mexican genre. His growing fanbase — totaling over 13 million monthly listeners on Spotify — positions him as one of the most promising rising artists under 21. His debut album, Nunca Voy A Morir (Warner Music México) — dropping this May 28th — serves as proof of his talent for navigating diverse sounds, featuring collaborations with Víctor Mendívil, Santa Fe Klan and Código FN, among others. Camacho is currently participating in the successful “Rico o Muerto” tour headlined by Óscar Maydon — a former Billboard Latin Artist on the Rise. — T.A.

Song for your Playlist: “Dos + Dos” (feat. Victor Mendivil)

Name: Quelle Rox

Country: United States

Why They Should Be on Your Radar: Puerto Rican-Cuban artist Quelle Rox is carving out a dreamy Spanglish lane that feels intimate, sensual and quietly magical. Based in New York, originally from Florida, she blends indie-soul, dream-pop and Latin warmth into songs that shimmer with soft-focus heartbreak. Her latest single “Mint Cherry Red (pa’ olvidarte amor)” is a strong example of that world: supple bass, hazy textures and breathy vocals that glide between English and Spanish with an ease that feels lived-in. There’s an early Kali Uchis quality to her aesthetic — ethereal, delicate and seductive — but Quelle’s perspective feels distinctly her own, rooted in bilingual confession and the kind of post-heartbreak glow-up that turns pain into style.

In the video for “Mint Cherry Red,” she leans all the way into that mood, cruising in a convertible, hitting the carnival and Coney Island in red tights, animal print and a beret, serving soft-girl glamour with a knowing edge. With songs like “Más Bonita” and “Apareces de la Nada” continuing to build traction, and a full Spanglish project on the way, Quelle Rox feels like an artist stepping into a more defined era — and one worth catching now. — ISABELA RAYGOZA

Song for your Playlist: “Mint Cherry Red (pa’ olvidarte amor)