Classical violin and K-pop. At first glance, the two may seem like worlds apart, but ALL’N is carving out a new path between them in his own way. A classically trained musician who won international violin competitions and performed as both a concertmaster and soloist with orchestras, he eventually discovered another possibility—one that could not be fully expressed through the violin alone. Rather than putting the violin aside, however, that realization led him to expand the places the violin could go.

For him, K-pop was not simply a new genre of music. It was a culture where performance, individuality, visuals, and fandom come together to draw people directly into the music. As ALL’N expanded his own skill set to include guitar, vocals, rap, dance, and production, he began to believe that the violin, too, did not have to remain confined to the boundaries of classical music. From that idea came what he describes as “violin-driven K-pop.”

But in ALL’N’s music, the violin is more than simply a differentiating element. From his debut single “We Up,” he naturally weaves the violin into rap, vocals, and performance, treating classical music and K-pop not as two separate worlds, but as languages that can coexist within a single piece of music. In some songs, the violin takes center stage as a powerful main hook; in others, it supports the emotion of the vocals. Its role continues to shift according to what each song demands.

The meaning behind his stage name, ALL’N—both a play on “all in,” meaning to give it your all, and “olin,” a shortened form of “violin”—are both important clues to understanding his music. It represents his determination to give his best to everything within his control and to pour everything he has into the path he has chosen, without regret. Rather than searching for answers within predetermined boundaries, his attitude of creating new possibilities for himself is reflected in the way he approaches music.

ALL’N is starting from what he does best and, from there, building a musical language of his own. How far can music that began with the violin expand on the new stage of K-pop? Now, hear the story of ALL’N as he puts everything he has on the line and walks that path.

Taylor Swift has made a name for herself as a singer/songwriter for the past two decades exploring different genres of music, including pop, indie, country and other styles. But she says her country roots have only become more meaningful to her over time.

During a conversation at the Grammy Museum presented by the Recording Academy’s Songwriters & Composers Wing on Aug. 18 (which was just released in full on YouTube), Swift fondly reflected on the songwriter she was when she released her debut single, “Tim McGraw,” and the artist she has become nearly two decades later. When asked by Recording Academy CEO Harvey Mason jr. what has remained the same and what has changed between herself then and now, Swift pointed to the country foundation that assisted in the launching of her career.

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“I’ve loved — and I think this can happen as you grow up — my country roots more and more,” Swift said. “The further along this path I get, I want to honor them more and more, and I feel more and more tied and more loyal to them — the people that shaped who I am as an artist and as a writer.”

Those roots, Swift noted, trace back to Nashville, where she developed her identity as a songwriter. Earlier in the conversation, she recalled becoming fascinated with the city at around age 10 after learning that Faith Hill had been discovered at the Bluebird Cafe. Swift made it a personal goal to perform at the famed Nashville venue, while also teaching herself instruments and writing songs by studying the structures of the music she loved.

That early immersion in country music did influence the picturesque storytelling that would become one of the distinctive and beloved attributes of Swift’s songwriting. Looking back at “Tim McGraw,” she pointed to elements of the song that seemingly foreshadowed the kind of writer she would eventually become, including character work, vivid detailing and the way the song moves through time.

“I was 16 putting out an album in country music that was all about my life as a kid in high school,” Swift explained during the conversation, recalling how some people around her questioned whether a teenager writing about her own life would connect with country’s music presumed audience. She decided to trust her instincts rather than conforming to those expectations.

Swift famously pushed far beyond the country genre once her debut album ignited. Audiences first saw her experimenting with her 2012 album Red, straying away from traditional collaborators and sounds before she made her official pop pivot with 2014’s 1989, both of which debuted atop the Billboard 200. Even as her music evolved, however, the songwriting principles she refined in Nashville remained part of her creative groundwork.

She pointed to “Mean,” from 2010’s Speak Now, as one example of how her country background directly influenced her approach. At the time, one criticism she was hearing was that she wasn’t “country enough,” so she responded by leaning into the genre’s sonic characteristics, joking that she put “just as much banjo on this as we can possibly put.”

That willingness to experiment did lead her to some of the more unexpected genre combinations of her career. Swift spoke about bringing the earworm hit “I Knew You Were Trouble.” to Max Martin and Shellback as a sad piano ballad, only for the producers to suggest turning it into somewhat of a dubstep-influenced track. She agreed to try it, and the result become the biggest turning point of her moving away from the country genre.

Nearly 20 years after “Tim McGraw,” Swift seems to be looking back at her country beginnings with renewed appreciation.

Watch the full conversation with The Recording Academy below.

In addition to the Q&A with Mason, Swift also threw things back to her Eras Tour days by mashing up her Toy Story 5 song “I Knew It, I Knew You,” “August” and “All Too Well” on the very piano she brought out for the acoustic section of that show. Watch the full mash-up below:

The Comedy Bang! Bang! podcast and multiple festivals appear to be distancing themselves from Reggie Watts following a disturbing Rolling Stone report that detailed his allegedly toxic, controlling and at times abusive behavior toward ex-girlfriend Katherine McCollough, who died by suicide this spring after developing an addiction to drugs over the course of their relationship.

The outlet reported Monday (Aug. 24) — four days after the initial investigation was published — that the Watts-composed Comedy Bang! Bang! theme song had been notably absent from the latest episode, despite serving as the intro music since 2011. Instead, Rolling Stone writes that the installment was preceded by “a generic British woman’s voice” that simply stated the episode’s number.

Also in the aftermath of the publication’s shocking report on Watts, the 2026 lineups for Greenbelt Festival, Shambala Festival and Electric Picnic no longer display his name. As previously announced, Watts had been scheduled to perform at all three events over the course of the weekend of Aug. 27-30.

Billboard has reached out to Watts’ reps for comment.

The developments come after the musical comedian faced lengthy accusations from numerous people interviewed by Rolling Stone of him pressuring his former partner, McCollough, into using heavy amounts of dangerous substances such as ketamine in order to remain emotionally close with him throughout their romance, which lasted from approximately May 2024 to October 2025. A few months after their breakup, McCollough — a Cornell law student and eventual producer for some of Watts’ comedy endeavors — traveled to Peru to obtain a euthanasia agent and end her life.

Watts’ lawyer, Andrew Brettler, vehemently denied all claims that the former Late Late Show With James Corden bandleader was ever “abusive” toward any of his romantic partners, adding that it’s “dangerously false” to link McCollough’s suicide to her relationship with Watts. “Ms. McCollough did not need any so-called ‘encouragement’ from him [to take drugs],” the attorney told Rolling Stone, calling McCollough an already “experienced” drug user prior to meeting Watts.

Numerous people close to McCollough, however, told the publication that the South Carolina native had only previously taken drugs in small quantities before dating Watts, a vocal advocate of using ketamine as a means of spiritual enlightenment who would allegedly goad his then-girlfriend into taking drugs in large amounts. One source who remained anonymous claimed in the report that Watts is “incredibly reckless” with how he “administers” dosages of ketamine to other people, including but not limited to McCollough.

“I’m confident if she never met Reggie, she’d be alive,” an anonymous former classmate of McCollough’s told Rolling Stone.

Sources alleged plenty of other alarming behaviors exhibited by Watts, accusing him of withholding payment for McCollough’s part in producing and financing one of his comedy specials and his improv talk show Watch Watts Happen Live. Five other women who previously dated Watts told Rolling Stone that they, too, had experienced Watts being allegedly emotionally and psychologically abusive toward them during their relationships with him, which his attorney denied and called “false.” The attorney also denied one woman’s accusation that Watts had knowingly exposed her to an STD, while providing no response to a different claim that Watts had allegedly filmed a sexual encounter with a partner without her knowledge.

If you or someone you know is currently struggling with depression, suicidal thoughts or substance abuse issues, call or text the National Suicide Prevention Lifeline by dialing 988 or contact the Substance Abuse & Mental Health Services Administration at 1-800-662-4357. 

BRISBANE, Australia — The search is over. Kristy Ellis is the new CEO of QMusic.

Ellis, who was appointed interim CEO of the trade body in April, steps into the position on a permanent basis, following a nationwide recruitment process.

Moving forward, Ellis will oversee the association as it drives sector growth and delivers key industry programs and events, which include the BIGSOUND summit and showcase event and the Queensland Music Awards (QMAs).

Ellis boasts more than two decades’ experience in the creative industries, sports, major events and commercial management, with previous role at AFC Women’s Asian Cup, Queensland Rugby Union (Queensland Reds), TEDxBrisbane, and as a board member for Ballet Theatre Queensland.

“It is a privilege to lead QMusic permanently at such a dynamic time for Queensland music,” she comments in a statement, issued Monday morning (Aug. 24) local time. “Over the past several months, working alongside our team, members, and key stakeholders, it has become even clearer how much talent and opportunity exist across our state’s music ecosystem.

“My commitment is to deliver both operational continuity and fresh strategic momentum. I look forward to working closely with the board, government partners, and industry stakeholders to ensure QMusic continues to advocate fiercely for artists, venues, and music businesses while expanding our commercial and artistic impact nationally and internationally.”

Ellis succeeds Kris Stewart, who stepped down from the top job at QMusic in April after five years in the role.

The Queensland contemporary music community and its trade body are in a unique situation, with a golden opportunity at stake. Brisbane is the host city for the 2032 Summer Olympic and Paralympic Games, a moment that will cast a spotlight so bright that the state’s musicians ought to benefit.

“Kristy has demonstrated exceptional operational focus, fresh thinking, and strong commercial momentum during her time as interim CEO,” comments QMusic chair Jake Challenor.

“She balances deep respect for Queensland’s music sector with the commercial discipline required to build sustainable career and business pathways for our local industry. The board has total confidence in her leadership as QMusic enters its next chapter of growth with ambition and focus.

“On behalf of the board, I would also like to extend our thanks to Erica Brush and the team at u&u Recruitment Partners for guiding QMusic through a thorough, transparent, and rigorous search process for our next CEO.”

Dr. Dre is sharing his thoughts on AI’s growing role in music.

In an interview with The New York Times alongside his longtime business partner Jimmy Iovine, the legendary rapper and producer called AI a “new tool for creativity” and said he doesn’t see it “as a threat.”

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In the piece, published Sunday (Aug. 23), Dre compared resistance to AI with the skepticism that initially greeted drum machines and synthesizers.

“I had a discussion with a few people a few days ago,” Dre told the Times. “They were against AI and I’m like, ‘OK, you sound like the person that would have been against the drum machine when it came out.’ Or synthesizers, right? It’s a new tool for creativity. Some people are afraid of learning new things.”

Dre also acknowledged that he is using AI in his own music, explaining that he views the technology “as a tool to see what it would do with what I just did.”

“I’m embracing it. I can’t wait to see what’s going to happen with this,” he added.

The N.W.A. alum also pushed back on the idea that AI is inherently a threat to musicians. “I think the only people that see it as a threat are the people who have trouble creating,” the superproducer said.

Iovine expressed a similarly optimistic view of AI’s potential in music. The veteran music executive said there are “a lot of closet AI producers out there,” prompting Dre to reply, “That’s a good way to put it. They’re using it, they just don’t want to admit it.”

“I’m very pro-AI in music creation,” Iovine said. “I don’t see the downside at all. There will be some crappy music. There’s crappy music now. In the studio, when gifted people have AI, they’re going to make better records.”

Dre and Iovine co-founded Beats Electronics and Beats Music before selling Beats to Apple for a reported $3 billion-plus in 2014.

Their comments come as the music industry continues to grapple with the rapid rise of generative AI and questions surrounding creativity, authenticity, copyright and artists’ rights.

Apple Music recently said that its AI Transparency Tags will become visible to listeners later this year as “Made With AI” labels. The platform will require content providers to disclose when AI has been used to create a material portion of content.

The International Federation of the Phonographic Industry (IFPI), Recording Industry Association of America (RIAA) and other music-industry organizations announced a voluntary track-labeling program in July that distinguishes between “AI-Generated” and “AI-Assisted” recordings.


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Summer is rolling into fall and the sun is setting earlier at night, making it a little more dangerous if you’re used to going on an evening run.

Fortunately, we’ve spotted a new pair of headphones on Amazon that let you take your walk or run into the late nights while making sure you stay visible. These HAKII Light 2 headphones feature a light up headband that emits a bright green glow, making sure you’re well-lit, even in dark neighborhoods.

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The wrap around design means the entire back of your head is lit up, lending a halo-style effect to keep you fully in view. It’s more effective than running vests or armbands with reflective patches, which only show up when a light is pointed in their direction. These light-up headphones stay bright the entire time, making sure you’re visible to drivers, cyclists and other pedestrians.

Of course, these are headphones designed for music too, and the HAKII Light 2 features surprisingly powerful sound with big bass, to boost your running playlist. The adjustable headband features a comfortable over-ear design that helps the headphones stay in place even as you’re moving.

The wireless headphones are also rated IPX5 to be sweat and water-resistant — no need to worry if you’re caught in the rain as the music will keep playing. Wipe them down with a towel or cloth to dry.

The HAKII Light 2 portable headphones also use Bluetooth 6.0 technology, one of the latest Bluetooth standards for wireless pairing. What that means: connecting to your phone is super fast and less prone to breaking up.

Of course the light-up headband is why you’ll be buying these headphones, but there’s another safety feature you may not know about: the open-ear design means the earcups rest against your ears rather than covering them up entirely. That allows you to stay aware of your surroundings (say, if a car is approaching or someone is calling out for you) without losing track of your music.

Regularly $59.99, get the HAKII Light 2 headphones on sale for just $46.99 right now on Amazon. A bonus: for a limited time, you can apply an on-site coupon to bring the price down to just $32. We’ve purchased the above model with a neon green light, but you can also pick up a pair of headphones with a glowing orange headband here.

As with all Amazon deals, pricing could change at any time so we recommend adding to cart while the headphones are still in stock at the sale price.

ENHYPEN’s eighth mini album, THE SIN : BLISS, tops this week’s new music poll.

In a poll published Friday (Aug. 21) by Billboard, music fans selected the K-pop heavyweights’ second installment in the ongoing THE SIN series as their favorite new release of the week.

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THE SIN : BLISS rose above a number of new releases this week from artists including Sam Smith, Weezer, Stella Lefty and Reba McEntire. At the poll’s closing time on Sunday, ENHYPEN’s new mini album had come out on top with nearly 73% of the vote.

THE SIN : BLISS marks ENHYPEN’s first release since HEESEUNG announced his departure from the group to pursue a solo career. Now a six-member act comprising Jake, Jay, Sunghoon, Sunoo, Jungwon and Ni-ki, the group recently completed the Latin American and U.S. legs of their BLOOD SAGA trek, their largest world tour to date.

In July, ENHYPEN took part in San Diego Comic-Con 2026, where they introduced global audiences to “DARK MOON,” HYBE’s original story inspired by ENHYPEN’s narrative universe.

Before the release of THE SIN : BLISS, the group had landed nine titles on the Billboard 200, including six top 10 appearances: MANIFESTO : DAY 1 (No. 6 in 2022), DARK BLOOD (No. 4, 2023), ORANGE BLOOD (No. 4, 2023), ROMANCE : UNTOLD (No. 2, 2024), DESIRE : UNLEASH (No. 3, 2025) and THE SIN : VANISH (No. 2, 2026).

Next up, ENHYPEN will take the BLOOD SAGA tour to the United Kingdom and Europe from February through March 2027.

Trailing ENHYPEN in Billboard’s poll this week was the “other” category with nearly 12% of the vote, followed by Sam Smith’s fifth album, Hazel Eyes, with 7%.

Check out the final results of this week’s poll below, and visit Billboard’s Friday Music Guide for more must-hear new releases.


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Drake is continuing to show love to Ella Langley.

On Saturday (Aug. 22), Drizzy was spotted in the crowd at the country star’s concert at Simmons Bank Arena in North Little Rock, Arkansas.

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Nearly a week after Drake made headlines for praising Langley’s songwriting abilities on social media, the 6 God was seen singing along to her smash hit “Choosin’ Texas” while standing alongside ERNEST, one of the openers on her Dandelion Tour.

Drake appeared fully immersed in the moment, even making his way onto the venue’s big screens as he sang and danced along to “Choosin’ Texas.” The hit recently logged its 18th week at No. 1 on the Billboard Hot 100, giving Langley the fourth-longest reign in the chart’s history.

Last Sunday (Aug. 16), Drake became a member of Ella’s Fellas after commenting on an Instagram post recapping her recent Texas shows. “Goated pen,” the superstar rapper wrote alongside a pen emoji. Drake also gave “Choosin’ Texas” a spin while DJing at a Houston club in July.

Drake’s appearance at Langley’s show has left some fans wondering whether a musical collaboration could be in the works. “WE NEED THAT COLLAB,” one person wrote on X alongside a raising hands emoji. Another observer speculated, “He’s gonna sample it I just gotta feeling.” A third added, “The collab we all never thought we needed. Send it!”

Drake’s admiration for Langley appears to be mutual. The Alabama native posted a TikTok video on Aug. 15 lip-syncing along to Drizzy and Lil Wayne’s 2011 hit “HYFR (Hell Ya F—king Right).” Langley rapped Weezy’s chorus bar-for-bar from the Grammy-nominated Take Care track.

In recent days, some Drake fans have also speculated that the Toronto MC could be preparing to release even more music. After dropping a trifecta of albums, the rapper posted a “FEAR OF MISSING OUT” CD case to Instagram on Aug. 21. The CD case features a black backdrop and white lettering, while Drizzy offered no context for the photo beyond a video camera emoji.

A full-on collaboration with a country artist would mark a first for Drake, who previously experimented with singing over acoustic guitar on HABIBTI’s opener “Rusty Intro.” Langley, meanwhile, has already dipped her toe into hip-hop, teaming up with BigXthaPlug for “Hell at Night” in 2025, which peaked at No. 26 on the Billboard Hot 100.


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Whether you first encountered Kehlani through her era-defining Cloud 19 mixtape or her 2025 career-crowning smash hit “Folded” — which earned her two Grammys (her first after five previous nods) and became her highest-charting Billboard Hot 100 hit (No. 6) — the Oakland-bred R&B powerhouse was glad that you bought a ticket to her ongoing, 44-date world tour.

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Mounted in support of her eponymous fifth studio album — which reached No. 4 on the Billboard 200 and reached No. 1 on Top R&B/Hip-Hop Albums — the Kehlani World Tour will visit arenas and amphitheaters in major cities across North America, Europe and Australia through the end of the year.

But at Friday night’s (Aug. 21) sold-out Barclays Center show in Brooklyn, New York, the cover star of Billboard‘s 2026 R&B/Hip-Hop Power Players issue narrowed the scope of her storytelling to the emotional ebb and flow of a night out and the morning after, still finding space to honor the current wave of momentum mainstream R&B is enjoying and bridge that power with the iconography of eras past.

Before she entered the stage like a ’00s R&B fantasy to the tune of “Anotha Luva,” Kehlani ceded the stage to her dazzling support acts: Grammy winner Durand Bernarr, DJ Waseel, ascendant R&B singer-songwriter TheARTI$T and Oscar-nominated songwriter DIXSON. Waseel served as master of ceremonies for the entire night, soundtracking interludes with Kehlani deep cuts like “You Know Wassup,” feeding the day-one fans and keeping the energy high. TheARTI$T brought her signature ethereal sound to Barclays Center, playing cuts like “Sober” and “Love Is” and maintaining the thread of queer R&B that ran through the show. DIXSON played a few of his own cuts (“Cherry Sorbet”), as well as mashups of songs he helped write (like Beyoncé’s “Morning Dew”), before reappearing later in the show to assist on background vocals during Kehlani’s showstopping rendition of “Still.”

Bernarr, who played cuts from last year’s BLOOM (“Generous”) and this year’s BERNARR. (“Am I Okay?”), fully leaned into his rockstar proclivities, packing in gravity-defying riffs, an intensely physical stage presence (he was literally busting out kip-ups) and rollicking musical arrangements. The Cleveland vocalist was the final support act to hit the stage before Kehlani kicked off her nearly two-hour set — and he certainly knew a thing or two about properly preparing the space.

In her tracing of the pre-game, the night out, the comedown during the walk home, and the at-times questionable decisions that come in the wee hours of the morning, Kehlani performed nearly every track from her new LP, making sure to incorporate older catalog cuts. From 2017’s SweetSexySavage (“Piece of Mind”) and 2019’s While We Wait (“Footsteps”) to 2022’s Blue Water Road (“Everything”), nearly every era of Kehlani’s discography got some shine.

Not only did the setlist smartly weave the quasi-concept album feel of Kehlani with the narrative threads of her larger catalog, but it also allowed the htimaker and her music director to incorporate nods to ’00s R&B classics like Aaliyah’s “Rock the Boat” and Ne-Yo’s “So Sick.” That commitment to grounding the success of “Folded,” its parent album and accompanying tour, to R&B’s rich history extended to the choreography, helmed in part by Dominique Battiste and Darius “Dario” Boatner, who packed in homages to both Michael and Janet Jackson. Oh, and a surprise Cardi B appearance was simply the cherry on top.

From heart-melting vocals to an indescribably warm presence, Kehlani gifted Brooklyn a night of soul, gratitude and, most importantly, safety. A decade-plus in the making, the Barclays Center stop of the Kehlani World Tour was the ultimate proof of concept for unabashedly queer, vocal-forward contemporary R&B headlining and selling out arenas.

Here are the five best moments from the Kehlani World Tour in Brooklyn.

Olivia Rodrigo is dropping new music ahead of her upcoming Daisy Chain Fields festival.

On Friday (Aug. 21), the 23-year-old singer-songwriter surprise-released her new song “Serena Joy” as a limited-edition CD available exclusively at Analog Music Shop in Tustin, California.

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The store is located about eight miles from Irvine’s Great Park, where Daisy Chain Fields will take place on Aug. 29.

Analog Music Shop announced on Instagram Friday that Rodrigo had supplied the retailer with 500 copies of the Handmaid’s Tale-inspired track. The store later shared another post announcing that all copies had sold out.

“When we heard that Olivia Rodrigo was bringing an all-women music festival to Orange County, we were honestly just excited to see something this special happening right here in our hometown,” Analog Music Shop wrote. “As one of the closest record stores in the area, we wanted to find a way to support Daisy Chain Fields.”

The store said it was especially grateful to have been chosen to exclusively sell physical copies of “Serena Joy” three days before the song’s wider release, noting Rodrigo’s history of supporting independent record stores.

“More than anything, we’re grateful for what this represents: An artist building a stage for women in music and raising funds for women and girls,” the shop wrote. “An artist willing to support a local independent record store. And a hometown getting to be part of something really special. That means a lot to us.”

“Serena Joy” was recorded for Rodrigo’s third album, You Look Pretty Sad for a Girl So in Love, which debuted at No. 1 on the Billboard 200 in June, but ultimately didn’t make the final tracklist.

“I actually really love [‘Serena Joy’]. It didn’t fit on the album,” Rodrigo told Etalk. “The record was very much a chronicle of a relationship — beginning, middle and end. But I hope that it’ll be a part of something else down the line.”

Rodrigo hadn’t commented on the CD single release of “Serena Joy” at press time, but Analog Music Shop seemingly teased that the song will receive a wider release on Monday (Aug. 24).

Rodrigo will headline the all-women Daisy Chain Fields festival on Aug. 29. Other performers include Chappell Roan, Garbage, Doechii, The Breeders, Mitski, Bikini Kill, KATSEYE and others, along with “special guests” Karen O, Sarah McLachlan and Stevie Nicks.


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