Cardi B shared some exciting news on CBS Mornings on Wednesday (Sept. 17): she’s expecting a baby with boyfriend Stefon Diggs. The “WAP” rapper revealed to co-host Gayle King that she and the New England Patriots wide receiver are gearing up to welcome their little one before she is slated to kick off her just-announced Little Miss Drama tour in February.

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“Yes, I am [pregnant]. I’m having a baby with my boyfriend, Stefon Diggs,” Cardi, 32, said with a smile. “I’m excited. I’m happy. I feel like I’m in a good space. I feel very strong. I feel very powerful that I’m doing all this work. But I’m doing all this work while I’m creating a baby, and me and my man, we’re very supportive of each other.” The baby news comes just as Cardi — already a mother of three young ones with ex-husband rapper Offset — is gearing up for the release of her long-awaited sophomore studio LP, Am I the Drama?, which drops on Friday (Sept. 19).

Cardi said she and Diggs, 31, are in the “same space” in their careers, with both arguably “great” at what they respectively do. “Yeah, we’re one of the greatest, but what’s next? What are we doing again?” she said of their mutual ambition. “We’re never comfortable, we just want to keep doing it.”

King asked about the new album track “Safe” and if Diggs makes Cardi feel that way. “Very safe, in both ways, physically — I mean, like you see how big he is — and he just makes me feel safe and very confident and very, like, strong.” She described having a panic attack a few weeks ago, during which she was “crying and crying and crying” over her nerves surrounding the LP’s release.

“People were coming at me very hard. You know, sometimes people love you, people hate you. And people was just saying very mean things about me,” she said. “And I’m like, see, this is why I don’t put music out, because it’s like, this is my art and this is something that I put a lotta love and time to. And it’s just like, sometimes, when people just rip it apart it just hurts you and it crushes you.”

But, she added, Diggs’ support has made her feel “very confident” and like she can take on the world.

She then sent a direct message to all the haters and talkers who’ve been speculating about her for the past few weeks. “Ya’ll wanted to know, right? Now y’all know. Now y’all could buy my album so I could buy Pampers and diapers and all that type of stuff,” she said with a sassy head finger shake. “Now go support my album because I’m a mother of four now.”

Cardi has been in full promo mode this week, interrupting Jimmy Fallon’s Tonight Show monologue on Tuesday night (Sept. 16) to plug the album and dipping into TODAY With Jenna & Friends earlier in the day to announce her 30-date Little Miss Drama tour, slated to kick off on Feb. 11.

She also told host Jenna Bush Hager that despite her testy split with Migos rapper Offset she’s a “hopeless romantic” who would definitely get married again. “I believe in love,” she said.

Am I the Drama? will feature eight guest artistsCash CobainJanet JacksonKehlaniLizzoMegan Thee StallionSelena GomezSummer Walker and Tyla. So far, Cardi’s released two singles from the collection, the Hot 100 top 10 “Outside” and the Jay Z-sampling “Imaginary Playerz.

Watch Cardi on CBS Mornings below.


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Epidemic Sound, a giant in the production music library space, has launched Adapt, the company’s new AI-powered feature that lets users — whether it’s a filmmaker, advertiser or content creator — easily edit and customize songs from the Epidemic catalog to fit their specific needs. As a company press release puts it: “This launch signals the beginning of Epidemic Sound’s next era of soundtracking, which is focused on using AI to amplify creativity and empower creators while keeping musicians’ human artistry at the center.”

The announcement comes at a time when AI music start-ups are on the rise, often citing the same use-cases for their models that Epidemic Sound and its competitors already serve with their catalogs of millions of human-made songs. Often, the pitch is that AI models can allow for more flexibility and customization than human-made works. For example, according to a recent email about Eleven Labs’ new music model, obtained by Billboard, the company’s goal is “to help power a scalable, AI-driven production music library that creates custom audio for studios, brands and creators.” In the same email, uses for the Eleven Music model were listed as “background music for brands, agencies and studios,” “novelty songs” and “UGC-safe content for social platforms.”

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With Adapt, Epidemic Sound aims to adapt to the AI age while not giving up on its belief in its library of quality-controlled, human-made music. As CEO Oscar Höglund put it: “While many companies race to flood the market with AI-generated tracks, Epidemic Sound is charting a different path towards a future where human creativity is enhanced, not replaced, by AI.” Epidemic Sound’s chief product officer, Sam Hall, added: “Adapt is the first in a series of releases rolling out in the coming weeks, designed to give creators tools to use the music that inspires them, adapt it in real time, and align it seamlessly with their vision.”

Artists who have created music for Epidemic are given the ability to choose whether or not their music is eligible for adaptation, and as part of the announcement, Epidemic Sound also says it is raising the price tag of its bonuses. According to the company’s website, Epidemic pays artists a fixed fee of $1,775 to $8,000 per track, gives a 50/50 split on all streaming royalties, and provides “Soundtrack Bonuses” based on the track’s popularity. Now, that bonus payment will increase by 43%, starting in 2026. This includes a new $1 million pool dedicated to AI usage and an increase in the Soundtrack Bonus fund from $3.7 million to $4.2 million.

In the age of generative AI, some production libraries have embraced the emerging technology and its short-term economic benefits by licensing their catalogs for training the new music models. Others have expressed fear about its threat to those business models in the long run. “Musicians making production music are hugely at risk,” Ed Newton-Rex, a former vp of audio for Stability AI and founder of non-profit Fairly Trained, once warned Billboard. “Ultimately, generative AI is faster, cheaper and the quality is already very good.”

In a May 2025 interview with Billboard, Höglund explained his thoughts on AI. While he doesn’t license out the company’s music for AI training (and does not plan to in the future), he does want to harness its capabilities to enhance his pre-existing catalog. “[Now,] you can edit it — not replace it,” he said. “This helps create more use cases for the same songs. Where there might have previously been 10 content creators who can use your track, now with adaptation maybe 20 or 30 or 100 creators will use it. That means the track is going to get played more and it’s going to earn more royalties [on streaming services]. And so ultimately, the human who made that track is going to make much more money, because AI has augmented the use cases.”

In a statement about Adapt, Höglund adds: “At Epidemic Sound, we strive to use technology to do right by both creators and artists, and AI is no different. With Adapt, we are giving creators a powerful new way to customize music, while ensuring artists are rewarded every time their tracks are used. More freedom for creators, more visibility and income for artists, and stronger meaningful human connections — this is what a human-first approach to AI looks like, and it is the future of AI soundtracking.”

Attendees of the Americana Music Conference who might have expected a heated debate during a fitting conversation on political activism instead encountered an impressive calm on Sept. 11, as a decidedly progressive panel called for a respectful response to the assassination of a controversial conservative personality.

America was dazed, confused and angry following the Sept. 10 shooting of Charlie Kirk, with people on both sides of the political aisle engaging in familiar verbal attacks online.

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But Americana artists Allison Russell and Margo Price avoided outrage, as Russell expressed empathy for Kirk and other members of the conservative movement responsible for taking rights away from women and immigrants.

“The news was devastating,” Russell said. “The reaction I found, in some ways, even more devastating. When we lose our moral compass — out of anger, out of vengeance, out of grief — we become that which we repudiate. We become it. So when people say things like, ‘He deserved it,’ that’s not it. We can forgive… We cannot operate from a place of vengeance, of violence, of shame and blame. It just doesn’t work.”

The Americana Music Association announced the panel “Art & Activism” weeks before the convention’s start. Even if Kirk had not been shot, the discussion would still have been appropriate. It was moderated by Tennessee state Rep. Justin Jones, D-District 52, who gained national attention as a member of the so-called Tennessee Three, legislators who were punished by the Republican majority for their animated demonstrations in favor of gun regulation following a shooting at Nashville’s Covenant School in 2023. Lawmakers declined to enact any meaningful reform at the time.

Jones has modeled his efforts as an activist and reformer on the work of Civil Rights leaders such as Martin Luther King Jr. and John Lewis, who was among the demonstrators at Nashville lunch counters when sit-ins broke out across the South in 1960.

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The city now boasts the National Museum of African-American Music, located on the same block where Lewis boarded a bus for Alabama in 1961 to join the Freedom Rides, employing nonviolent strategies in a key milestone of the movement. While much of mainstream country’s audience, and many of its artists — most of them based in Nashville — are squarely conservative, a good portion of the industry’s executives are determined to expand the genre’s reach among minority populations, including Blacks, Hispanics and the LGBTQ+ community.

“Being in this country music space has been so challenging for me,” Price said. “People tell me that I can’t say things or to tone it down. [But] I think that we are at such a crucial time in the loss of our democracy. You’ve got to be able to sing truth to power. Let’s dream of a better world.”

Russell, an openly gay Black artist adopted by a white supremacist family in Montreal, recalled a visit with extended relatives in Edmonton, Alberta, when she heard Tracy Chapman’s a cappella “Behind the Wall,” a song about domestic abuse featured on the same album as breakthrough hit “Fast Car.” It was the first time that Russell realized she could change the trajectory of her life, and it informed her passion for songs that make a difference in the world.

“Anytime you’re singing a message, it’s kind of like that ‘spoonful of sugar helps the medicine go down,’ ” she said, referencing a song from Mary Poppins. “It opens people up to receive, maybe, news that they would not otherwise take into their system.”


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Russell referenced Bloody Sunday — a moment in 1965 when Lewis and others were beaten by state troopers while peacefully marching for civil rights in Selma, Ala. — and mentioned meeting an activist from that era who talked about extending forgiveness to his oppressors. Russell said that same spirit is required while progressive forces fight against the erosion of rights that’s taken place in America over the past decade.

“We have to learn to forgive the unforgivable in order to liberate ourselves from these endless cycles of harm and violence,” she said. “It’s the only way.”

Joan Baez, Bob Dylan, John Lennon, Woody Guthrie and folk singer Odetta — artists who opposed the Vietnam War, racism and fascists in previous eras — were among those mentioned as inspirations for Price and Russell. Their support of blue-collar communities set an example that the “Art & Activism” panel encouraged today’s musicmakers to follow.

“These are very difficult times,” Jones said. “The saying that ‘democracy dies in darkness’ — I say that creativity dies in isolation, and fascism thrives in both. We are connected for a reason, and I know that we shall overcome.”

Phish will once again ring in the new year with 20,000 of their closest friends during their traditional run of New Year’s Eve shows at New York’s Madison Square Garden. The venerated jam band announced on Tuesday (Sept. 16) that they will kick off the four-show series on Dec. 28 and take the stage again on the 29th, 30th and 31st.

The upcoming gigs will bring the band’s total number of shows at the Garden to 91.

Phans can put in their ticket request now here, with the window ending on Monday (Sept. 22) at noon ET Tickets will go on sale to the general public beginning Sept. 26 at noon ET.

The band are currently in the midst of their summer tour, including their recent headlining gig at the Bourbon & Beyond Festival in Louisville, Ky. They will play the second of two shows at Ameris Bank Amphitheatre in Alpharetta, Ga. on Wednesday (Sept. 17), followed by a three-night stand (Sept. 19-21) at Hampton Coliseum in Hampton, Va. to close out the run.

In January they will travel to Riviera Maya in Cancún, Mexico for a four-show stand (Jan. 28-31) at the Moon Palace Cancún where nightly performances will be enhanced by daily offerings of wellness programming, daily yoga classes, workshops, daytime pool parties and late-night DJ sets.

In addition, lead singer/guitarist Trey Anastasio’s solo band has a few shows lined up for the fall, including two nights at the Mission Ballroom in Denver (Nov. 14-15), followed by gigs in Nebraska, Iowa, Missouri, Ohio, Michigan and New York, winding down with a two-fer at the Beacon Theater in New York City on Nov. 29 and 30.


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MGK has conquered the worlds of hip-hop, emo punk and pop, not to mention building a budding acting resumé. But this week the multi-hyphenate landed a new notch on his experience belt that no one saw coming: he lectured at Harvard Business School.

Colson Baker chronicled the unexpected visit on his Instagram, where he posted a series of pictures of his visit to the venerated Boston university, including a shot of him standing next to the school’s sign wearing his version of professor chic: baggy grey dress pants, a brown bomber jacket, a button down shirt, two different ties (one tied, the other loose around his neck) and, of course, a white baseball hat promoting his Lost Americana album.

“Harvard has a new professor,” he captioned the series, which also featured a snap of him poring over a thick textbook on a train, seemingly in preparation for the visit, standing on steps with a group of students (and not-so-subtly flipping the bird), chilling on the quad and posing in a classroom with more students.

A close-up showed off his official Harvard crimson tie with the school’s motto “Veritas” (truth) and a short video of MGK at a chalkboard writing the words “Water Fire Air Earth” ended with him breaking the chalk and feigning frustration to the laughs of students.

In an Instagram Story, Kelly captioned the snap in front of the biz school sign with “hi class, my name is mr. machine,” followed by a short video of him taking off his college tie drag, writing “class dismissed” underneath as Fisher and AATIG’s “Take It Off” played in the background.

It was quite a trip for the rapper, who in a 2011 interview said he graduated from high school in Cleveland, but had “not a damn” plan to attend college. “But I always plan on being educated… college particularly, do I believe in it?,” said MGK, who was 21 at the time. “For certain people, yes… does a degree make you or break you to be viewed as an intelligent American citizen? Not at all.”

At press time spokespeople for MGK and Harvard Business School had not returned Billboard‘s request for comment on the visit or the details of the lecture.

Last week, Kelly was dressed up for a different reason. He received the Style Icon award at the 12th Fashion Media Awards, where he was accompanied by his teenage daughter Casie and BFF comedian Pete Davidson, with the latter presenting him with the prize. “Pound-for-pound I think he’s maybe the most talented person I’ve ever met,”Davidson said. “He can rap, he can play guitar, he can rock, he can act. He’s a great dad. He always leads by example for me, I look up to him.”

MGK released his seventh studio album, Lost Americana, in August, which featured his No. 62 Billboard Hot 100 single “Cliché.”


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The U.K’s Girl Group, Swedish musician Isak Benjamin, and Nigeria-born singer-songwriter Tommy WÁ are among the showcasing artists confirmed for The Great Escape 2026.

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The new music extravaganza returns to Brighton, England next summer (May 13-16), spotlighting a wealth of emerging talent from across the globe.

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The first 50 artists who will grace its stages were announced on Wednesday morning (Sept. 17), including French multi-instrumentalist Max Baby, Irish indie-pop musician Annie-Dog, Australia’s Teenage Joans, electronic duo SISTRA and Toronto songwriter Clothesline from Hell. The full list will feature 450 acts, according to a statement.

Ahead of next year’s festival, The Great Escape will host its First Fifty showcase at venues across east London in November. The live launch will see a number of those acts announced today hit stages at eight different venues in the capital, including Moth Club, Oslo, and The George Tavern.

Tickets for each First Fifty show start at £8 ($10.91) and are available now via an exclusive presale accessible via The Great Escape’s mailing list. General sale for all shows will open at 10 a.m. (BST) this Friday (Sept. 19) through the festival’s official website.

Additionally, suicide prevention charity Campaign Against Living Miserably (CALM) is announced as the lead charity partner for The Great Escape 2026. Attendees will have the option to donate to the charity when they purchase their tickets. 

In a press statement, Simon Gunning, CEO of CALM said: “Music is part of the DNA of CALM – right from the time Tony Wilson helped us launch. We use it to reach more people who need us. To make some noise about suicide and help save lives. That’s why it’s so brilliant to be The Great Escape’s lead charity partner.”

The 2025 edition of The Great Escape welcomed sets from the likes of English Teacher, Daffo, RabbitFoot, Courting, My First Time, Westside Cowboy and RIP Magic, all of whom performed as part of the Billboard U.K. Live experience. The takeover marked the inaugural Billboard U.K. Live event.

For tickets and more information for The Great Escape 2026, visit the festival’s official website.

The Tonight Show is Jimmy Fallon’s vehicle, sure. But only when Cardi B doesn’t stop by.

The “Bodak Yellow” rapper made a classic entrance on Fallon’s late night show Tuesday, Sept. 16, as he was delivering his monologue.

First, Cardi Facetimed the talkshow host. Then — voila! — she strolled onto the set, to share some important information.

Carrying the vinyl of her forthcoming album Am I The Drama?, Cardi showed off the artwork, announced a tour, and urged viewers to get off their armchairs and buy a copy of her long-awaited collection.

“Tell people on your show to get my album. Thank you.” She quipped, “tell your audience or I’m gonna be homeless.”

As previously reported, Cardi B’s second album, Am I The Drama?, is due out this Friday, Sept. 19, and is the followup to her 2018 debut, Invasion of Privacy.

Her Miss Drama Tour will play 30 arenas up and down North America and will go on sale the following Friday, Sept. 25, Fallon announced. Those dates will get underway Feb. 11, 2026 at Palm Desert, CA and will wrap up April 17 in Atlanta, GA.

Earlier this week, Cardi revealed that the new LP will feature eight guest artistsCash CobainJanet JacksonKehlaniLizzoMegan Thee StallionSelena GomezSummer Walker and Tyla. So far, she’s released two singles from the collection, the Hot 100 top 10 “Outside” and the Jay Z-sampling “Imaginary Playerz.

Watch Cardi’s Tonight Show spot below.

Jessica Sanchez is living proof that parenthood is no obstacle.

Sanchez has cruised into the Semifinals of America’s Got Talent, doing so while nine months pregnant with a baby girl.

On Tuesday night’s (Sept. 16) episode of AGT, Sanchez did her chances of winning absolutely no harm with a soulful performance of “Golden Hour” by JVKE, hitting high notes and exercising vocal control like a pro.

“I’m so proud that you’re my Golden Buzzer,” judge Sofía Vergara remarked. “Jessica, you get better and better. It’s perfection, your voice, your little belly, your story. I mean, there’s nothing I would change about you or how you do your singing. You’re amazing. I’m so happy for you.”

Howie Mandel was happy for her too, but he questioned her song choice. America will decide. “Hopefully they love that song more than me,” he remarked, as boos rung out in the audience.

Mel B said the singing hopefuls vocals were “just magical,” but also questioned the choice of song. “I could see that it affected you and that’s the most important thing,” she noted. “It was beautiful.”

Simon Cowell, as he so often does, went last with his critique. He loved the song, praising her choice and declaring the performance a “moment.” Not only is she talented, but she has “never given up over all of these years,” he remarked. And importantly, she is “very very likeable.”

Cowell’s comments refer to Sanchez’s decades-long pursuit of a career in music. She auditioned for the first season of America’s Got Talent back in 2006, when she herself was a child.

Sanchez returned to AGT for its 20th season, where she auditioned by singing Benson Boone’s “Beautiful Things.” The judges were so impressed that Sanchez wound up earning a golden buzzer from Vergara, sending her immediately to the live round of the competition.

Gazing into his crystal ball, Cowell predicts that we’ll be seeing Sanchez next week, when the Finals get underway, and, with it, a chance at claiming the $1 million grand prize.

Now America votes, and Sanchez hopes fortune shines on her. “I just keep telling my baby, please just stay in there another week,” she told AGT host Terry Crews.

Six spots are available for the final round. Whoever America sends through will compete with the Golden Buzzer acts from the Quarterfinals: Mama Duke, Micah Palace, Steve Ray Ladson, and Team Recycled. We’ll find out who gets the nod during Wednesday’s hour-long live results show on NBC. The Final will air next Wednesday, Sept. 24.

Watch Sanchez’s performance below.

Foo Fighters ’ smattering of confirmed live dates should be just the beginning of another massive tour.

The Rock Hall-inducted stadium fillers have been off the road since September 2024 and is set to return to the stage with upcoming shows in Indonesia (Oct. 2), Singapore (Oct. 4), Japan (Oct. 7, 8, 10) and Mexico (Nov. 12, 14).

“Stay tuned,” reads a new message from the band, posted late Tuesday, Sept. 16. “There’s more to come.”

Dave Grohl and Co. dropped the cryptic clue in a goofy “Keeping It Real” video, which sees the bandmates delivering their lines with all the gusto of cartoon robots, and generative AI hogging the visuals.

A separate message from the band leaves little doubt about their plans to mount another monster trek. “Thank You!!!,” it reads. “Where Will We See You Next???”

The rockers released their 11th and latest studio album, But Here We Are, in 2023, marking their first new music following the death of longtime drummer Taylor Hawkins.

The band celebrated its 30th anniversary in July with the release of a new track titled “Today’s Song,” and made a surprise performance on Saturday (Sept. 13) for an all-ages show at the Fremont Theater in San Luis Obispo, California.

That show served as a coming out party for the Foos new drummer Ilan Rubin, who appears in the new social video with, count them, 10 arms. “Wait ‘till you meet our new drummer,” quips Grohl.

It’s no mistake that JADE’s debut solo album THAT’S SHOWBIZ BABY! is a thoroughly poptacular affair. “I live and breathe pop, I always have done,” she tells the Billboard Pop Shop Podcast (listen to her full interview, below). “I just am obsessed with it.”

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Billboard has called the album “a distinct, dazzlingly ornate record” that takes sonic cues from divas like Diana Ross, Madonna and Janet Jackson, and demonstrates the breadth of her “taste as a pop student and skills as a wide-ranging vocal dynamo.”

JADE first made her mark on the pop landscape as Jade Thirlwall, a member of the British girl group Little Mix. The ensemble was formed in 2011 on the U.K. reality competition program The X Factor and notched numerous hit albums on both sides of the Atlantic, including a whopping 19 top 10-charted hits on the U.K. Official Singles Chart. In 2022, the act went on hiatus while the individual members explored solo endeavors.

Fast-forward to 2024, and JADE’s debut solo single “Angel of My Dreams” hit No. 7 on the U.K. Official Singles Chart. She followed it with another top 40 hit in “FUFN (F— You For Now)” this past March, and won her first solo BRIT Award for Best Pop Act that same month. Through the summertime, JADE played major festivals including Glastonbury, and opened for Chappell Roan in Edinburgh. Her THAT’S SHOWBIZ BABY! – THE TOUR kicks off Oct. 8 in Dublin and continues on into the U.K. through Oct. 22 in London, which she has “hope” will come to the U.S.

The Billboard Pop Shop Podcast caught up with JADE quite literally a few hours before THAT’S SHOWBIZ BABY! was released on Sept. 12. Here are some excerpts of her chat with the podcast, which you can listen to in full below.

On when the writing process for the album began.

The album writing process started, I think, like three years ago now, right off the back of the Little Mix hiatus. I went straight into the studio, writing nonstop, figuring out what my sound was on my own. And then I think just over, maybe, a year and a half ago was when “Angel of My Dreams” was written. And I think once that happened, that kind of became the catalyst for what the album would be, and everything just fell into place from that point onwards.

How she’s staying in the moment and celebrating the album’s arrival.

In the next few weeks, I just want to be super present with this record. It’s something I’m so proud of and waited a long time for. And I want it to feel like a celebration between me and my fans and see as many of them as possible. And I think in this job, in this music industry, you’re constantly on the move, and you can easily just sort of get swept up in all the politics and the promotion and marketing and all that stuff. And just forget that actually it’s really f—ing cool. And you are able to just make an album, and you should take time to be proud of that and be present for it.

On how SHOWBIZ has an “element of chaos.”

And then I think the album itself has an element of chaos to it, just sonically. And each song is different to the next. I consciously didn’t want it to be a super cohesive or conceptualized album, because the truth is that I was experimenting for this and trying different sounds, figuring out who I am. So I wanted the album to literally sound like that. And with songs like “Angel of My Dreams” or “It Girl,” and, you know, even to “Fantasy,” every song has its own identity. And I guess that’s where the kind of chaos of the record lies. I feel like you can hear it … so that day she was, she was trying this sound, and she was merging these genres. It’s a very sort of experimental pop record, I would say.

On JADE’s love of pop music.

I live and breathe pop. I always have done. I just am obsessed with it. And I’ve done a lot of research. Ever since I was a little girl, it’s always been something I’ve been obsessed with — not just the music, but, like, just every part of it. Like, I’d have the dolls of my favorite artists, and the CDs, and I’d open it up, and I’d look at all the credits and the lyrics and take it all in and study the artwork and the videos. So for me, the best pop artists are the ones that don’t just focus on the music and they see it as a whole brand, I suppose. And so I have a lot of fun with that. And, you know, making a pop record that feels very visual, too. So, yeah, I always knew, and I always will be like a pop girly. But, it was interesting, and it was essential to sort of find out what the JADE sound is. And, like, how do I stand out and make my mark in the pop world?

Did the genesis of SHOWBIZ begin before Little Mix went on hiatus?

I think, like musically, I kind of had an inkling of where I might go. There was a song I wrote for the girls on our fifth album called “Wasabi,” and it kind of became a fan favorite, and it became almost known as like, as my song within the group. And so, I kind of knew that that would be a good starting point. But I think lyrically, it wasn’t until after, I think because I was so used to writing lyrics that were very universal or very relatable for everyone, because in a group you can’t be too personal. It’s not just about you. So, it wasn’t until afterwards, when I was in rooms on my own, and getting more confident and sort of realizing, oh, I actually can just literally write about anything now, and I can be, almost uncomfortably honest at times with, like, my own experience.

On her love of Madonna.

She is one of the best pop stars we will ever get. She reinvents herself with every era, which I find hugely inspiring. As someone that wants a long career, for me, Madonna is the epitome of longevity as a pop artist, and I think that’s when you are so sure of who you are, and you speak up and speak out for things you feel passionate about. I watched her documentaries as a teenager, and I always respected that she wasn’t afraid to be controversial, or afraid to stand up for what she thought was right. So, I’ve took that with me as a solo artist.

On what to expect from her THAT’S SHOWBIZ BABY! tour.

I think my THAT’S SHOWBIZ BABY concert will play on that sort of theatrical theme. And I’m actually really excited to be in theaters, because it means I can really delve into taking advantage of those stages and making it almost feel like a musical theater production or a cabaret show. So I’m very excited for that. And, all the songs are all very different. So it’s going to make for a, well, a show that won’t be boring. (Laughs.) You know, obviously I love to go in with the costumes, and we’ll have the band and the choreography. So, yeah, I’m really working hard with my creative director on how we make this smaller stage feel like you’ve entered my world and you leave there being like, ‘Oh, fuck, you know, she really made that work.’

Could the tour visit America?

I think so. Yeah, I hope so. We hope so. We’re all putting our heads together of how to make this work. Because I really, really want to get over to the U.S. and do shows there and in Europe and just everywhere. You know, it’s always been a dream of mine to be able to say that I’m doing my own headline show, whatever that is.

The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s managing director, charts and data operations, Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)