Doja Cat unveiled the tracklist for her upcoming fifth studio album Vie on Friday (Sept. 19), one week ahead of its release.

The 15-track project includes the previously released lead single “Jealous Type,” which hit No. 3 on Hot Dance/Pop Songs and reached No. 28 on the Billboard Hot 100. Doja performed “Jealous Type” at the 2025 MTV Video Music Awards earlier this month alongside Kenny G. “Jealous Type” was nominated for song of the summer at the VMAs, but Doja ended up taking home the trophy for best K-pop with “Born Again” alongside LISA and RAYE.

The Vie tracklist doesn’t include any features, just like her last studio album Scarlet — which was her first project with no features since her 2014 debut EP Purrr! However, the extended version of Scarlet, dubbed Scarlet 2 CLAUDE, included new collaborations with A$AP Rocky (“URRRGE!!!!!!!!!!”) and Teezo Touchdown (“MASC”).

The Grammy-winning artist has previously described Vie as a “pop-driven project” and told Apple Music 1’s Zane Lowe that she was working with producer Jack Antonoff for the first time. “I think it’s just been nice to play. I really played through the whole thing … I think what I wanted to do was play with my voice in ways that are a little bit less unconventional. And so I’m shrieking a little bit on this album, and that’s been a lot of fun,” she said.

Vie will be released next Friday, Sept. 26 via Kemosabe and RCA Records. Doja is set to perform on Saturday Night Live the week after her album’s release, with Bad Bunny hosting.

See the album tracklist below.

Irish rap trio Kneecap has been banned from entering Canada, with the government accusing the group of allegedly promoting violence and hatred and supporting terrorist groups.

In a video posted to his X account on Friday (Sept. 19), Canadian MP Vince Gasparro — who also serves as a parliamentary secretary for combatting crime — said that the group “made statements that are contrary to Canadian values and laws that have caused deep alarm to our government.” In the caption to his video, Gasparro added that the government “will not tolerate the advocating of political violence, terrorism or Anti-Semitism and hate more broadly,” and deemed the group “ineligible” to enter Canada.

Kneecap has become known in recent years for its animated live shows, in which the band regularly speaks out against the war in Gaza and delivers pro-Palestinian messages from the stage. The group regularly calls Israel’s actions against the Palestinian people “genocide”; a recent United Nations commission of inquiry agreed that Israel is committing genocide in Gaza.

In a statement posted to its Instagram, the band — made up of members Mo Chara, Móglaí Bap and DJ Próvaí — repudiated Gasparro’s claims, calling the politician’s statement “wholly untrue and deeply malicious,” and that “we will not accept it.” The members said that they will be seeking legal action against Gasparro. “We will be relentless in defending ourselves against baseless accusations to silence our opposition to genocide being committed by Israel,” the statement read. “When we beat you in court, which we will, we will donate every cent to assist some of the thousands of child amputees in Gaza.”

The news comes just before Kneecap was set to perform a string of shows throughout Canada in October. In a second statement addressed to Canadian fans, Kneecap apologized to fans for the band’s shows being canceled, but added that “we will not be silenced and will always oppose genocide.” The band also urged fans to “use your voices in Canada — stand up and speak out.”

In August, Kneecap canceled its upcoming shows in the United States due to an impending court date in London, where Chara is due to defend himself against charges of supporting terrorist groups including Hamas and Hezbollah. In the band’s statement to fans at the time, the group apologized for the inconvenience, but told them to keep an eye out for “something very special for U.S. fans.”

Watch Gasparro’s video and read Kneecap’s response below:

The title track of Zach Williams’s fourth studio album Jesus Loves, which releases today (Sept. 19) on Provident Label Group, has a heartfelt message to “All the renegades, the rebels, and the runaways,” but throughout the dozen-song project, he also has songs aimed at healing and inspiring the newfound believers, the “church kids” and everyone in between.

Nearly a decade after launching his solo career breakthrough with “Chain Breaker,” the title track to his 2016 Grammy-winning album, the Southern rocker-turned-CCM singer-songwriter still has plenty of grit, gravel and passion in his voice and his writing pen, which he blends with a signature soulfulness that has spurred hits including “Chain Breaker,” “Old Church Choir,” and “Less Like Me,” but also his current Christian Airplay top 5 hit, “Jesus Loves.”

His new album is filled with messages of pain, struggle and redemption, all steeped in shades of blues, Southern rock and soul. He reunites with longtime producer Jonathan Smith and as with previous albums, welcomes writers and co-writers known for their work in CCM and/or country fields, such as Trannie Anderson (Lainey Wilson), Casey Beathard (Eric Church, Kenny Chesney) and Allen Shamblin (Miranda Lambert), as well as CCM kingpin writers such as Ben Glover, Jeff Pardo, and Smith.

“Killed a Man,” written by Ben Stennis, Tucker Beathard and Casey Beathard, is one of the few outside cuts on the album. It’s title, on its surface, seems to suggest murder in a physical sense, but is actually about putting away self-destructive ways in favor of a faith-filled life. Williams was intrigued by the title when he was sent the song.

“They played me ‘Killed a Man’ one day when we were hanging out and just the title alone, I was hooked,” Williams says. “And as soon as I heard what was going on in the song, I was like, ‘This is genius. Please let me record this.’ This song was too good for me to let go.”

Similarly, “Hated” doesn’t center on harboring ill will, but rather finding strength to stand up for one’s convictions, even when it brings backlash. “Friend in High Places” is the first song Williams wrote for the album and marked by the poetic lyric, “I’m livin’ proof, what a carpenter from Nazareth can do/ How a hammer and a nail can make things new.”

“That is one of my favorite lines in the song,” Williams notes. “Every time I would play the demo back, I just wanted to go ahead and put the song out. We kind of just tested the waters to see what people thought, and it gave me a good idea to see what direction I wanted to go with the rest of the songs on this record.”

Williams doesn’t shy away from the struggles to stay firm in his faith on songs such as “Wait For Me,” and “Say a Prayer,” the latter a track he calls one of his most cherished songs on the album. “I’ve had the song for a few years. It didn’t feel right for the last record, and I really wanted it on this one. It’s one of my faves on the record, and it may have a special feature at the top of the year on it,” he teases of the song.

Williams’ sandpaper-and-silk voice has made him a favored vocalist for collaborations, such as his two duets with Dolly Parton, and collabs with Big Daddy Weave and TobyMac. He recently teamed with Crowder on a new version of Crowder’s hit song “Still.” In 2021, Williams joined Christian music trio CAIN on a remix of CAIN’s hit “Rise Up (Lazarus),” and Cain joined Williams’ Revival Nights Tour last year.

On the new album, CAIN joins him on “Church Kids,” a slice of nostalgia for generations of people who grew up attending Sunday morning and Wednesday night church services, singing songs such as the 1983 Michael W. Smith classic “Friends,” and knew that each summer would include a week-long stint at a local church’s vacation bible school program.

“It was just this idea of all the things you see, all the sights and sounds growing up in church as a kid, some of it great, some of it not so great, and finding faith through it. And now, [Williams and his wife Crystal], we’re in this season of our own lives where we’re raising up our own church kids. Especially my generation, I think they’ll get a lot of lyrics that are in this song and they’ll be like, ‘I remember singing that song.’”

Current generations of music listeners are more likely to get their first taste of a new CCM favorite on social media rather than in a church setting—a shift that has compelled artists to spend more time focusing on creating content to promote music.

“I’m trying to get better at it, but I guess if you don’t figure it out, you’re going to get left behind,” Williams says of balancing making music with making social media content. “I’m not the guy that’s going to be on my phone shooting a video and posting it later. I think the best thing that’s working for me right now is to try to find a couple of days a month when we can get together and put together some content, some videos and versions of songs we can get out to people, and let them see a little bit behind the curtain. It’s not something that you think about whenever you start down the road of playing music. I mean, I’d love to just be able to focus on writing really good songs and putting out good music, that’s really where my heart is. But obviously, you got to make yourself available and things like that, so I’m having fun with it. I’ll get better at it as we go, I’m sure.”

Williams, booked by Jeff Roberts Agency, will launch the current iteration of his Revival Nights Tour in October, with openers We The Kingdom, Ben Fuller and Leanna Crawford. He says he’s still tinkering with the set list and just how to weave in the new music amidst his hit songs.

“We’re talking through our set list and trying to figure out what songs we are going to play. I think we’re playing eight out of the 12 new songs. Some of these songs I’ve never played live and haven’t played since the day we worked on them in the studio. There’s always a new energy when you’ve got new music to play in the set.”

Asake is set to perform a Red Bull Symphonic concert in New York this fall alongside conductor Glenn Alexander II and the Symphonic Orchestra.

The Red Bull Symphonic brings a modern artist and a classical music director together, backed by a full-scale symphonic orchestra, to reimagine the artist’s biggest hits. The Grammy-winning Afrobeats star’s one-night-only show will take place at Brooklyn’s Kings Theatre on Nov. 8.

“I feel blessed to be part of Red Bull Symphonic and amplify my sound in this unique way,” Asake said in a statement. “Classical music was influential in my childhood and love for music, and blending it with fújì, Afrobeats and amapiano alongside a full orchestra is a once-in-a-lifetime experience. I’m excited for what it will do for the culture, and for my fans to rediscover my music in a new light.”

This marks the first Red Bull Symphonic concert in New York and the third one in the U.S., following Rick Ross‘ Atlanta performance in 2022 and Metro Boomin‘s L.A. performance in 2023.

Alexander II will serve as the conductor for this year’s Red Bull Symphonic, while Anthony Parnther — who conduced Metro’s 2023 concert — will handle arrangement and orchestral consultant duties. Alexander II is the music director and conductor of the national U.S. tour of Les Misérables and has commanded top orchestras including the Atlanta Symphony and NYU Symphony, debuting at both Carnegie Hall and Lincoln Center.

“It’s an honor and a privilege to be part of something that’s bigger than myself as Red Bull Symphonic will provide an avenue to genuinely connect with people over our shared love of music,” said Alexander II in a statement. “I’m excited for the opportunity to work with Asake and blend two genres together in a unique way. This is something that will culturally bring people together which means more to me than anything.”

Tickets go on sale via Red Bull’s website Wednesday, Sept. 24, at 10 a.m. ET.

In need of some new songs from your favorite queer artists? We’re here to help. Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ+ artists.

From Lola Young’s long-awaited new album to Madison Beer’s sly new single, check out just a few of our favorite releases from this week below:

Lola Young, I’m Only F–king Myself

After a lengthy release schedule, Lola Young’s I’m Only F–king Myself is finally here. Filled to the brim with angst-riddled, defiant bangers, the new album follows through on the promise of Young as the Next Big Thing™ in pop music. Whether she’s indicating her lack of gender preference on the thundering queer anthem “F**k Everyone” or coping with crippling anxiety on “Can We Ignore It? :(,” the buzzy alt-rock singer makes a strong case for herself as a generational voice on this excellent new project.

Madison Beer, “Yes Baby”

In a time where plenty of artists are looking to replicate the energy behind Charli xcx’s Brat, it’s important to point out when an artist does a particularly good job at recreating that vibe. Enter Madison Beer’s “Yes Baby,” a song that effortlessly transitions from silky-smooth, breathy vocals into a skittering rave beat on the club-ready chorus. Beer understands how to follow through on a fun, flirty electropop banger, as she proves again and again throughout “Yes Baby.”

Ashnikko, “Smoochie Girl”

What happens when the in-your-face, purposefully confrontational stylings Ashnikko has so readily embraced throughout her career come into contact with a pop hook you might hear on Britney Spears’ Blackout? You get something like “Smoochie Girl,” a seamless blend of the two sounds into one exceedingly fun pop song that sees Ashnikko switching back and forth between the spoke-sung embattlement of the verses to the cooing taunts of the chorus, and keeping you invested every step of the way.

Dove Cameron, “Whatever You Like”

After a series of releases in which she takes every opportunity to challenge convention, Dove Cameron is ready to give her fans a simple, sweet love song. “Whatever You Like,” the singer’s latest offering, arrives as a touching tribute to her boyfriend, Damiano David, but still gives fans some of the cheeky, winking wordplay that’s infused so much of Cameron’s latest work. Special shoutout to her second verse opener “you’ve got my ear like Van Gogh” as an out-of-nowhere bar.

Leith Ross, I Can See the Future

Up-and-coming indie singer-songwriter Leith Ross is going to let you in on a lot of secrets with their new album I Can See the Future. Over 13 tracks, each produced by acclaimed artist Rostam, Ross gives fans as close a look at their interior life as they ever have, whether it’s their outlook on love (on the immediate album standout “Point of View”), heartbreak (“I Will”) and self-doubt (“Terrified”). Simply put, it’s an excellent album from Ross, and one that is well worth your time.

Haute & Freddy, “Freaks”

Who cares about conformity when you could have so much more fun being a “Freak” alongside pop duo Haute & Freddy? On this irresistible banger, the pair pulls out all of their stops to make a gothic, campy, maximalist pop anthem dedicated to those kids who like to “get dressed up and go out dancing” even in the worst of times. With a delirious music video to go along with it, “Freak” is an immediate must-listen for anyone looking for a party this weekend.

Check out all of our picks on Billboard’s Queer Jams of the Week playlist below: