Drake has been in a celebratory mood following the release of ICEMAN, which broke several Billboard chart records, including him surpassing Michael Jackson for the most No. 1 Billboard Hot 100 hits as a male soloist with 14 No. 1s after “Janice STFU” topped this week’s chart.

Drizzy took to his Instagram Story on Tuesday night (May 26) rocking a black leather jacket, matching Chrome Hearts pants and sparking slippers to celebrate his hard work.

The OVO boss was surrounded by ICEMAN-themed blue and silver balloons and a massive poster graphic laid out in the corridor of his Toronto mansion listing all of his No. 1 achievements to date.

ICEMAN serves as Drake’s 15th No. 1 album atop the Billboard 200, and it’s in the biggest and boldest font on the poster.

“Neck broke from carrying the chain, back broke from carrying the game, records broken carry on my name, carry on carry on,” he added in a punchline underneath all of his listed accomplishments.

The phrase could double as bars on an upcoming song, which he included as his caption on an IG post from Tuesday featuring an illustrated photo of Michael Jackson to celebrate surpassing the King of Pop when it comes to having the most No. 1s among male soloists. The Beatles have the most of any act, including groups with 20 No. 1 hits.

Drake released a trifecta of albums on May 15 with ICEMAN, HABIBTI and MAID OF HONOUR. The trio debuted at Nos. 1, 2 and 3 on the Billboard 200, which makes Drake the first to hold the top three slots simultaneously in the chart’s history.

ICEMAN gave Drizzy his 15th No. 1 album — which breaks a tie with Jay-Z for the most among rappers — earning 463,000 equivalent album units in the United States in the week ending May 21, according to Luminate. HABIBTI and MAID OF HONOUR still posted six-figure first week numbers, as the albums earned 114,000 and 110,000 units, respectively.

This week’s Billboard Hot 100 is all about Drake, as he holds a staggering 42 entries on the chart — which breaks Morgan Wallen’s record for the most entries in a week in Hot 100 history — including nine of the top 10 songs, with the only non-Drake track being Ella Langley’s “Choosin’ Texas” at No. 5. The 6 God is now the first act ever to accumulate more than 400 entries on the Hot 100 in his career.

We already knew Rihanna was a huge fan of the Real Housewives franchise after she reportedly sent a direct message last week to RHOBH star Amanda Frances begging her to return for season 16.

Now we know she also keeps tabs on the Real Housewives of Salt Lake City clan after the singer weighed in on a recent complaint from cast member Whitney Rose. On Tuesday (May 26) Rihanna reposted a message from Rose on her Instagram Story in which the OG Salt Lake City housewife lamented a fate many of us have resigned ourselves to for nearly a decade: the lack of a new RihRih album.

“I’m just sitting here getting some work done, feeling kind of sad and sorry for myself,” Rose says in a selfie video. “Because I just realized that we still have not had any new music from Rihanna.” Taking a beat to process the fact that the singer has not released a new LP since 2016, when she dropped her eighth studio album, Anti — which spent two weeks at the top of the Billboard 200 album chart — Rose purses her lips and shoots her shot in trying to get the “Work” singer and mother of three young children back on the radio.

Rose goes on to dub Rihanna her “favorite, my girl, my queen,” shrugging her shoulders and sighing, “still no new music,” while reiterating that the lack thereof has made her feel sorry for herself after listening to Rih’s “entire playlist.”

“I want more,” Rose says.

Rihanna clearly heard the message, because in addition to reposting it, she added the message “I feel ATTACKED!!!!” above Rose’s head and added three crying laughing emoji underneath the video.

Rose has plenty of company in wishing for new Rihanna music. Last month, Billie Eilish told Elle magazine that, “If Rihanna ever f–king makes R9, then I’m excited for that,” in reference to the popular nickname for the singer’s as-yet-unannounced next LP. Last February, Rihanna told Harper’s BAZAAR that the rumors she’s working on a reggae album were false and that she’s simply awaiting the perfect moment to return to the music scene.

“Every time, I was just like, ‘No, it’s not me. It’s not right. It’s not matching my growth. It’s not matching my evolution. I can’t do this. I can’t stand by this. I can’t perform this for a year on tour.’ After a while, I looked at it, and I was like, this much time away from music needs to count for the next thing everyone hears,” she told the magazine. “It has to count. It has to matter. I have to show them the worth in the wait. I cannot put up anything mediocre. After waiting eight years, you might as well just wait some more.”

The good news is that Rihanna said back then that she’s been in the studio this whole time, though the muse remains elusive. “But it didn’t hit me. I was searching for it,” she said. “I went through phases of what I wanted to do. ‘This kind of album, not that album.’ I know it’s not going to be anything that anybody expects. And it’s not going to be commercial or radio, digestible. It’s going to be where my artistry deserves to be right now. I feel like I’ve finally cracked it, girl!’”

Grupo Frontera founding members Juan Javier Cantú, Alberto “Beto” Acosta and Adelaido “Payo” Solís III have launched their own indie label, BoderTown Records, Billboard can exclusively announce on Tuesday (May 27). 

Established in partnership with The Orchard, the label will be based in Grupo Frontera’s hometown of McAllen, Texas. It will offer a 360 ecosystem that includes record label, management, marketing, public relations and more. 

“What we are building is a structure designed to ensure that, in the long run, Mexican music can truly shine,” Miguel Ramirez, general manager at BorderTown Records, tells Billboard. “It allows us to discover new artists and provide them with opportunities that many lack at the start of their careers — offering them a comprehensive ecosystem supported on all fronts, including a massive partner like The Orchard.” 

“We have collaborated with artists from every genre, so we are not limiting ourselves solely to Mexican music,” Cantú adds. “We look for artists who are willing to put in the work. We want to expand globally and work with artists who can thrive within our ecosystem. This record label was founded to represent all artists from the border region — from both sides.” 

Grupo Frontera will also soon open the doors to its creative headquarters, YUMA — named after the street where the facility is located and also where the group recorded its first songs. 

“Much of the Latin music scene is centered in Miami and Los Angeles; however, Texas lacks a significant musical presence in terms of recording studios that are accessible to the general public,” Ramirez shares. “It felt like a natural fit for Frontera to establish its home studio — and the base for its record label — right in its hometown. It’s a comprehensive complex where everything you need is at your fingertips: An artist can go in for a songwriting camp and walk away with a finished album. This applies to the artists we are currently seeking, to Frontera itself, and also to our colleagues who might wish to record while they are in Texas.” 

“Through BorderTown Records and YUMA, Grupo Frontera is investing in creative infrastructure and artist development for their peers and the next generation of talent in both Música Mexicana and other genres,” notes Jason Pascal, EVP of global artist & label partnerships at The Orchard. “Their ability to stay rooted in the culture while continuing to evolve globally is exactly what makes them such important artists and partners for The Orchard.”

The launch of BorderTown Records comes four years after Grupo Frontera became a household name with its viral norteño cover of Morat’s “No Se Va” in 2022. Since then, the group has been a strong force on the Billboard charts, including 16 No. 1s on Regional Mexican Airplay, as well as placement on Hot Latin Songs and the all-genre Billboard Hot 100. A Billboard Latin Music Award and Latin Grammy winner, the group has collaborated with artists such as Bad Bunny, Romeo Santos, Shakira and Alejandro Sanz while always remaining independent artists.  

“We have seen that it is possible to be successful independently — just like signed artists,” Cantú says. “From the very beginning, we never came across a deal that appealed to us; however, with The Orchard, we liked the way we would be working together. We [BorderTown] want to provide the right level of service and be fair to the artist. We want to offer the same formula that Frontera used to achieve success to other artists who wish to work with us.” 

Grupo Frontera will launch its new EP, Con Dolor, under BorderTown Records on Thursday (May 28). The set includes the previously released single “Cada Vez Me Gusta Más” with Alejandro Fernandez. The EP will showcase a mix of the authentic Frontera sound, as well as a twist on old-school rhythms like bolero.

After serving 18 years as Sony Music’s executive vp of business affairs and general counsel, Julie Swidler is stepping down at the end of June.

“Julie has been a vital component of the Sony Music senior management team for many years, and her wisdom, experience and knowledge has been a bedrock of our company’s strategy and growth,” said Sony Music Group chairman Rob Stringer in a statement. “She leaves us with our deepest respect and gratitude. As a friend and colleague, on a personal note, as Julie and I have planned together her departure for a while now, she will be missed at Sony Music, but I know that her next working chapter will be equally stimulating and rewarding.”

Swidler, who has regularly appeared on Billboard’s Power 100, Top Music Lawyers and Women in Music lists, is launching an advisory services company for creative-focused ventures.

“Every great adventure eventually makes room for a new one, and this feels like the right moment for mine,” Swidler said. “There are few companies in the world like Sony Music that carry this much history and remain this relevant. Being part of that legacy has been a privilege. That journey would not have been the same without Rob Stringer’s leadership, friendship and trust, and I’m grateful for all of it. I’m just as proud of our global business and legal affairs practice and the extraordinary people in it who are truly second to none. We have always been guided by what is fair and right for artists, and that compass never failed us.”

During her nearly 20-year tenure at the company, Swidler, one of the highest-ranking women in the record industry, has overseen Sony Music’s business, legal and governmental affairs globally, including advising the company’s record labels and operating units on negotiations, talent agreements, litigation, transactions and joint venture operations. More specifically, in 2015, she oversaw Sony Music Nashville during a transition period and in 2018 served on the Recording Academy’s task force to examine diversity and inclusion issues in the recorded music industry.

Swidler, who began her industry career at Polygram Records and Mercury Records, also held senior legal and business affairs positions at Arista Records, J Records (helping launch the label with Clive Davis), RCA Records and BMG. She also served as lead counsel for the 1994 Woodstock Festival.

Swidler will be honored on June 8 by the UJA-Federation of New York at the 26^th annual music visionary of the year award celebration alongside Universal Music Group’s Jeff Harleston and Warner Music Group’s Paul Robinson. She has previously received the Grammy Foundation’s Entertainment Law Initiative Service Award, the T.J. Martell Foundation’s Lifetime Music Industry Award and the Music Business Association’s Presidential Honor.  

Swidler, a graduate of Union College, has served as the chair of the board of trustees at her alma mater since 2023.

Months after the Supreme Court struck down President Trump’s sweeping import tariffs, Rihanna’s Savage X Fenty lingerie brand is facing a class action lawsuit from customers demanding that it return “tariff surcharges” it allegedly tacked onto purchases.

The case, filed Friday (May 22) in federal court, argues that Savage X Fenty will be refunded for the now-voided tariffs it paid to the Trump administration, but that it seemingly has no plans to refund add-on fees it charged consumers to cover them.

“Savage X stands to receive a windfall: it has already recouped tariff costs from consumers through tariff surcharges, and it now stands in line to recover those same unlawful tariff payments from the federal government,” the lawsuit reads.

The case was filed by a woman named Ajani Hoffert, who says Savage X Fenty tacked on a $44.04 surcharge to her April 2026 order under the label “TARIFFS.” Her lawyers say they want to represent “millions of consumers” who potentially paid such fees.

“Savage X stands to recover the same tariff payments twice — once from consumers and again from the federal government through tariff refunds,” Hoffert’s lawyers write. “Savage X has made no legally binding commitment to return tariff-related surcharges to the consumers who actually paid them.”

A rep for Savage X Fenty did not immediately return a request for comment on the lawsuit’s allegations.

The U.S. Supreme Court ruled in February that Trump clearly exceeded his authority when he unilaterally imposed steep new tariffs on nearly all U.S. trade partners under a decades-old emergency powers law. In the wake of that decision, the government is expected to refund more than $160 billion to companies that paid the now-invalidated tariffs.

That ruling has created a tricky problem for the many companies that passed along the tariffs to consumers, both in the form of increased prices and explicit surcharges. Amazon, Nike, Toyota, Costco, FedEx and other companies have already been hit with similar class actions, demanding a cut from any tariff refunds they receive.

Savage X Fenty, founded by the superstar in 2018, is the latest company to face such a case. In it, lawyers for the consumers say the company publicly tied its new surcharge to the cost of tariffs, but set the price of the add-on fees itself.

“Savage X was not merely passing through a uniform, government-imposed tariff rate, but instead exercised discretion in determining the amount charged to consumers,” Hoffert’s lawyers write. “This variability demonstrates that the surcharge was a pricing mechanism controlled by defendant rather than a fixed or unavoidable charge dictated solely by law.”

Savage X Fenty has not yet filed its counter-arguments in court. But in the earlier case against Costco, that company has argued it should be dismissed because customers “freely chose to purchase valuable products for accurately posted prices” and that the company “never suggested” that it might refund any portion of the purchase price.