OK, this is definitely what dreams are made of. Hilary Duff has announced that after more than a decade, she’s finally coming back with a new album titled Luck…or Something.

As revealed Friday (Nov. 21), the singer-actress’ first full-length since 2015’s Breath In. Breathe Out. is set to drop Feb. 20. “I am often asked how I still have my head on straight after growing up in this industry,” she said in a statement about the project. “The album title is my way of answering that question.”

“It’s luck, but there’s also a lot of weight in the ‘… or something,’” she continued. “Many of the things I’ve been through along the way are held there, and I feel like ultimately that’s what’s shaped me.”

Luck…or Something will be Duff’s sixth studio album. She dropped her first LP in 2002, starting off with holiday album Santa Claus Lane. The next year, she followed it up with Metamorphosis, which reached No. 1 on the Billboard 200 — a feat she outdid in 2005 with her two-week chart-topping compilation Most Wanted.

On the cover of her new album, the Lizzie McGuire alum lies on a carpeted floor in a simple magenta sweater and sheer stockings, gazing up at the ceiling. The Luck…or Something tracklist will feature comeback single “Mature,” which Duff cowrote with her husband, producer Matthew Koma, and released on Nov. 6.

“‘Mature’ is a little conversation that my present self is having with my younger self,” the performer said of her song at the time it dropped. “The two of us are reflecting on a past experience and sending love to each other. It’s a chuckle, a wink and a sense of being grateful that we are sure footed in where we landed.”

Duff has been gearing up for a full-fledged musical comeback since September, when she signed a new label deal with Atlantic Records. She also has a docuseries tracking her return to music in the works.

Just ahead of Luck…or Something‘s release, Duff will embark on an intimate run of performances kicking off Jan. 19, featuring stops at London’s O2 Shepherd’s Bush Empire, HISTORY in Toronto, the new Brooklyn Paramount theater and the Wiltern in Los Angeles.

Solomon Ray, a handsome young singer with a flawlessly trimmed beard, a friendly smile and a fedora tilted at just the right angle, is one of the world’s biggest gospel music stars this week. Four of his songs are on the Gospel Digital Song Sales chart, including No. 1 “Find Your Rest,” a soothing anthem with lyrics derived from Bible verses. He is also not human — not fully human, anyway.

The man behind Solomon’s curtain is Christopher Jermaine Townsend, a 34-year-old rapper otherwise known as Topher, whose fire-breathing MAGA videos like “Let’s Go Brandon” and “The Patriot” have given him enormous followings on YouTube, Instagram, TikTok and other social media. After reading recently about Xania Monet, the AI music star created by fellow Mississippi songwriter Telisha “Nikki” Jones, Townsend fired up the $3,500 computer system in his Philadelphia, Miss., basement and downloaded Suno, the AI music platform used by Jones. Within a few days, he and ChatGPT “co-wrote” the lyrics to “Find Your Rest,” Townsend used Suno to create the music and employed online tools to select the voice and master the song, then posted briefly about it as Topher.

Unlike most of the non-human, or partially human, artists who’ve recently hit the charts, Townsend proudly identifies as an AI collaborator. He also doesn’t care about anti-AI backlash — this is a rapper who, in March 2021, released “The Patriot,” with lyrics that included, “March around the Capitol, storm the city gates / putting pressure on their necks until the truth breaks.” He has a record of viewing haters and enemies as good publicity — and his strategy is working, as Ray’s songs have generated 738,000 on-demand audio streams in the U.S. in the past week, according to Luminate.

“[AI] reminds me of the resistance we saw with CGI,” Townsend tells Billboard. “This is CGV for me — computer-generated vocals. When CGI came out, [film director Steven] Spielberg and the industry were mad about ‘people [who] were going to lose their jobs.’ Now, no one cares about movie CGI; as a matter of fact, if you don’t have CGI, it probably won’t sell tickets.” Unlike just about every other AI-assisted artist on the charts, including Monet, Enlly Blue (rock), Breaking Rust (country) and Unbound Music (rock), none of whom have responded to multiple requests for comment, Townsend, reached on Instagram, agreed to two lengthy phone interviews.

How did you come up with the idea of creating an AI artist?

I’m from Mississippi and I’ve been doing music since I was 10 years old, writing, performing. I’ve had Billboard No. 1 chart success as Topher [on Rap Digital Song Sales] — as a real rapper, my vocals, everything. So I’m not coming in as an outsider, or a person without any talent. The only skill I would say I lacked was singing. I caught drift of AI songs with Telisha Jones. When I heard about her success, and her being from Mississippi, I’m super-proud.

Next thing I saw, Timbaland released his AI artist, and I was like, “Okay, this is not just a niche thing, this is a real thing, when you have labels paying multimillion dollars for AI artists and you have the household names adopting the technology.”

What was the process of writing and recording “Find Your Rest”?

About two days after I downloaded the app, my sister and I had a conversation. I could feel her heart was heavy over the phone and she teared up. I let her hear a snippet of what I was working on and she said she loved it. I told her it was AI, but it didn’t bother her. When I got off the phone, I said, “Maybe I can make a song that can uplift her spirit.” I started with Matthew 11:28: “Come to me, all you who are weary and burdened, and I will give you rest.” I wrote the hook, which is, “Don’t grow weary in well-doing / get those problems off your chest.” It developed into a full-blown song.

What did you do next?

I co-write with ChatGPT. I put in, “I want a gospel song, with a choir, here are the lyrics, here’s what I want the hook to be.” I changed this, changed that, and eventually, once I got the song how I wanted to flow the words, lyrically, I copied and pasted that into Suno. 

Suno will auto-generate lyrics if you just give it a prompt, but I’ve never done that. Copyright reasons. If you want AI to generate [all the music], you can’t get any publishing. You can’t claim anything. And it can’t write like me. You’re not going to get “Find Your Rest” with a prompt. So I placed lyrics in there. It gives you two samples, and either you like it or you don’t. It took me a while.

Every time you create [on Suno Studio], it costs credits. It gets pretty expensive. I just regenerated every section until I got what I wanted. Then I used landr.com, a mixing and mastering program online. Once the song’s done, I go to Artlist.io to generate Solomon Ray’s look. From there I can generate images, sitting on a truck or walking or whatever.

Why is this a more fruitful songwriting process than just writing your own song?

It helps me eliminate the ideas that I think won’t work. It’s a tool that speeds up the process. If I was to reach out to somebody, and they had to sing this or produce that, it would take forever to get to where I’m trying to get to.

How long did it take you to get from idea to actual song that you posted online?

To give a recent example, my Christmas EP [Solomon Ray’s A Soulful Christmas], those four songs, I started working on it in an evening, and by the next night, I had completed everything — mastered all the songs, created the graphics for the album and uploaded it to Distrokid.

How did you come up with Solomon Ray?

I’m a Christian, so I’ve got a gospel background. My dad’s a blues guitarist and singer. I never dove into it because my capacity to sing wasn’t competitive enough to make a difference, so I chose the rapping route. Solomon Ray allows me to draw out my passions and my stories. I asked ChatGPT, “I need to come up with a good Southern name that’s biblically sound, that when you hear it, it’s unmistakably a Southern gentleman.” It spit out a list of 20-30 names and Solomon Ray was the one I landed on. It’s King Solomon, so it’s like wisdom, wealth. Ray was the sunshine element. I miss the days when men got a chance to dress fashionably, with the peacoats, the hats, the fedoras — that went into building his look. I didn’t want him to sound like somebody that’s been chain-smoking. When I landed on that vocal texture, I decided to keep it.

How much marketing did you do to draw attention to the song?

Although I have millions of followers, I didn’t want to leverage that. People might not like Solomon Ray simply because he’s associated with me. I wanted Solomon Ray to be able to stand on his own. I only posted one video to my TikTok and one video to my Instagram.

As Topher, you’re purely independent, right?

Right. When I was younger, I tried to go through the traditional route, the open mics, the talent shows, trying to pitch it that way. Had no success. I stuck to just being organic. It worked. My songs took off from there. Even though I was doing really well, No. 1 at Billboard, I never got a call from anyone.

It sounds like what you’re saying is the music business is closed to you as an openly conservative rapper and musician.

That’s exactly what I’m saying. But that’s fine. That’s the industry.

But if you identify as conservative, that gives you access to a whole other promotional network, of conservative radio stations, cable channels and podcasts, right?

It’s just that they’re still willing to bring me on and play me. The conservative stations and outlets still play liberal artists. But what you see is the liberal outlets are not going to play many conservative artists.

Solomon Ray’s music is apolitical, but how much does it concern you that potential listeners might say, “This is the MAGA guy, I don’t want to support him”?

To a certain extent. Somebody might have a preconceived bias towards the music simply because [of] what they think about me. That can be [true] for any artist out there. But I believe the art is going to supersede a lot of that noise.

If a label approached you and said, “We like this activity around Solomon Ray,” would you consider signing, or do you want to remain indie?

I’m open to signing. Since I’ve already had my success as Topher, I don’t have this pride in saying, “I did it myself,” because I’ve already done it. If labels come now, it’s like, “Okay, how can we grow this, how can we expand this?” There’s a reason why you have publishing, and I’ve really never been in movies with my music, because there are certain things you don’t have access to as an independent. I’m interested in seeing how far to take him.

You refer to Solomon in the third person. It’s like you have a secret identity.

[Laughs] My wife is sometimes like, “I want you to know that Solomon’s not real.” I’m like, “I know that!” It’s like any other character in a movie.

John Summit announced Friday (Nov. 21) that his Experts Only festival will return for year two in 2026.

The news comes after a successful 2025 debut this past September, when the fest happened on Randall’s Island in New York City with a lineup including Summit collaborators and compatriots including Kaskade, Cassian, Green Velvet, Layton Giordani, LP Giobbi, Pete Tong and two headlining sets from Summit himself. The festival drew approximately 50,000 fans over its two days, organizers report.

Experts Only 2026 will happen Sept. 19-20. The event will once again be produced with in partnership with Medium Rare, Relentless Beats and EMW. A ticket presale happens on Nov. 25, with additional sales to be announced.

Experts Only Festival is, of course, named after Summit’s Experts Only label, which releases music by Summit and a crew of producers, and which ranked No. 1 on Beatport’s global label chart in 2024 and for much of 2025. Talking to Billboard about the label in September, Summit says throwing a festival to showcase all the music was “the obvious next step.” He added: “I’ve grown close friendships with everyone, too, so it’s going to feel like a family affair and not a big corporate festival where we just tried booking DJs that would sell as many tickets as possible.”

Meanwhile, Friday also saw the release of a drum and bass edit of Summit’s own remix of Delerium’s 1997 classic “Silence” by English producer Dimension. The track is out via Tomorrowland Music; listen to it below.

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard and Billboard Español editors. Check out this week’s picks below.

CA7RIEL & Paco Amoroso, “GIMME MORE” (5020 Records)

After shocking onlookers with their steamy (violent?) kiss in the media room after winning five 2025 Latin Grammys, the Argentine outlandish duo return with “Gimme More” — a three-minute funky electropop track brimming with hedonism and existential dread. Over quirky synth keys that sound ripped straight from Mario Bros., they grapple with the hollowness of endless desire: “La mujer de mi vida no me sirve más, quiero más.” Three-quarters in, the song takes a cheeky turn with a Cuban son-like sample, underscoring their relentless quest for “more” — love, wealth, pleasure — and how none of it satisfies. The accompanying video matches the chaos, with the pair wreaking havoc in Las Vegas: they take shots out of their trophies, hit strip clubs, shoot at ranges and gamble with feral energy. — ISABELA RAYGOZA

Tainy & Karol G, “Única” (NEON16/Republic Records)

After working together on songs such as “Mañana Será Bonito” and “Tropicoqueta,” Tainy and Karol G join forces once again in “Única.” Sonically, the track laces enchanting string instruments, such as the harp, and synthetic reggaetón sounds, evoking feelings of remembrance and melancholy. Backed by Karol G’s dreamy vocals, the nostalgic lyrics express a strong connection and feelings of missing someone with whom special moments were shared, and describe how certain scents can spark these memories, regardless of the distance. “You’ll remember that night with me was unique/ Your mouth kissing me all over in a unique way/ So many people in the world and that night I was the only one/ We gave it our all knowing I was going to be the only one,” the Colombian star weeps. — INGRID FAJARDO

Sebastián Yatra & Xavi, “LA FKN VIBRA” (Universal Music Latino)

There’s something about Xavi doing reggaetón music that just makes sense—and “LA FKN VIBRA” is proof of that. For his new single, Sebastian Yatra teams up with the Música Mexicana sensation on a hard-hitting and captivating reggaetón track with subtle Regional Mexican requintos co-produced by Manuel Lara and Andy Clay. On the track—which can easily be an end-of-year party anthem or gearing us for summer 2026—Yatra and Xavi sing about “the f–king vibe” that only those who know how to live life to the fullest can understand. “We’re ready to have a blast, to hang out/Tonight I’m gonna steal the prettiest girl of them all,” they chant in the flirtatious chorus. — JESSICA ROIZ

Peso Pluma & Tito Double P, “intro” (Double P Records)

Peso Pluma and Tito Double P had for months hinted at an upcoming joint project, and “intro” seems like the perfect set up for the highly-anticipated reunion between the two cousins — who’ve already proven that big things happen when they team up. Peso and Tito unleash a riveting corrido — rooted in their horns-heavy signature corrido sound that catapulted them to stardom in the first place —  that presents the pair as a dynasty. At the top of the music video, starring Mexican star Kate del Castillo, says, “They are not enemies, they are reflections, two halves that cannot exist without the other … in every dynasty, the power isn’t in just one, it’s in the union.” Peso and Tito go on to sing about a shared hustle, rising individually and also together.  — GRISELDA FLORES

Carolina Ross & Denise Gutiérrez, “El Target” (FONO/Universal Music México)

Carolina Ross presents this new single as another preview of her upcoming album, accompanied by mariachi. The combination of these two voices with very different styles is quite interesting. Over violins that lend elegance and touches of sierreño, Denisse Gutiérrez, vocalist of the rock band Hello Seahorse!, infuses the feeling a ranchera requires from a contemporary perspective. “You don’t give to me, you only take from me/ That love weakens me/ In short, you always aim to kill/ I’m the target, I have to get out of your way,” says part of the song, which speaks of the complexity of love and how, sometimes, wounds become lessons. It’s a solid collaboration between two great talents who represent female power in Mexican music. — TERE AGUILERA

Codiciado & Carín León, “Déjame Dormir” (CodiRecords)

Codiciado and Carín León, two of the most recognizable and influential contemporary voices in Mexican music, join forces on this emotional ballad about heartbreak. Driven by guitars, metals and potent female backing vocals, and fused with rhythms like blues and R&B, “Déjame Dormir” is a plea to end a relationship that can no longer continue: “It wasn’t you, it was me/ Who was tired, fed up with this relationship/ Please, my love… And if you’re so tired and you feel like it/ Close the curtains, I beg you, and let me sleep,” say part of the lyrics. The track is a preview of Codiciado’s upcoming album, Así Es La Vida, slated for release in early 2026. It’s a powerful collaboration you’ll easily have on repeat.  — SIGAL RATNER-ARIAS

León Larregui, “Cometas” (Universal Music México)

As Zoé prepares to take their MEMOREX + RESEXEX + MÁS 2026 tour to the U.S., its lead singer León Larregui presents “Cometas,” the first single from his fourth solo album. Weeks ago, he shared an unfinished, preliminary version of the song with his fans. Now, completely mixed and mastered, the track reaffirms the social and political stance the Mexican singer has displayed for years in his role as an artist. This urgent and conscious track emerges as an act of resistance in the face of the current complex geopolitical landscape. Built on an electroacoustic foundation with fingerpicked guitars and synthesizers, it creates a dramatic and immersive atmosphere. “The resistance of the people against frivolity/ Resilience is an olive tree,” Larregui sings reflectively. The single’s cover art is a clear reference to the work of artist and activist Banksy, featuring an image of a child flying a kite in the colors of the Palestinian flag and the distinctive lettering used by the British artist on his graffitis.  — NATALIA CANO

Check out more Latin recommendations this week below:

Justin Bieber helping you out after your car breaks down? Never say never.

That exact situation just happened to an artist who goes by Buku Music on TikTok, as captured in a recent video shared to the platform. In the clip, the user sits on the side of the road, looking hopeless after the car he was driving stopped working. All of a sudden, a different car pulls over, leaving Buku looking perplexed.

“I might be tripping, but I think that Justin Bieber just stopped to help me,” he says, still filming himself. “Are you Justin Bieber?”

The Canadian pop star then appears in front of the camera, giving Buku a hug. “Yeah, what’s up, bro? Love you, too, yes sir,” Bieber says before assessing the situation. “What happened?”

“Do you really want to know? My life is f–ked, bro,” Buku replies, laughing.

The content creator then cuts the camera before checking back in to update viewers on what happened next. Apparently, the Grammy winner led him in a healing prayer that set Buku’s mind at ease.

Fans in the comments were just as blown away by the twist of fate as Buku. “God literally sent you Justin Bieber,” one person wrote, while another replied, “Is Justin Bieber your fairy godmother?”

Billboard has reached out to Bieber’s reps for comment.

The act of kindness on the musician’s part reflects the family values he shared on Instagram in September. In a photo he posted of the framed “Bieber Family” guidelines he has displayed in his home for himself, Hailey Bieber and their 1-year-old son, Jack Blues, one of the listed tenets was “We value Generosity and graciously giving time, money and respect to people on our path.”

In addition to helping the occasional distressed driver, Justin has been hard at work these days preparing for his 2026 Coachella headlining set. To do so, he’s been holing up in a warehouse with his band and creative team, capturing his rehearsals in hours-long Twitch livestreams.

The singer is also fresh off of receiving numerous Grammy nominations for his work this past year. In addition to Swag earning nods for both album of the year and best pop vocal album earlier in November, his hit song “Daisies” is up for best pop solo performance, while “Yukon” is in competition for best R&B performance.

Watch the Biebs help out a stranded driver below.