Update: Ahead of its upcoming performance with Pharrell Williams at the live streamed free Vatican City concert Grace for the World on Sept. 13, Voices of Fire is announcing the Sept. 12 release of its new album, OPHANIM. The Virginia-based gospel choir is set to perform some songs from the 13-track project, which features a string of guest stars and was produced by the choir’s longtime collaborator Williams. He earlier produced the choir’s first single, 2023’s “Joy (Unspeakable). Led by Williams’ uncle, Bishop Ezekiel Williams, the choir is also the subject of a 2020 eponymous Netflix documentary produced by Pharrell.

The OPHANIM track list includes songs and guest appearances such as “The One” featuring Pharrell, “Business” featuring John Legend, “Anywhere” featuring Tori Kelly, “I Forgive You” featuring Cee-Lo and Quavo, “Won’t He Do It” featuring Teddy Swims and “OK to Fall” featuring Zacardi Cortez. Prefacing the project’s arrival was lead single “Miracle Worker.”  OPHANIM is available through Warner Records. Visit here for more information.

Some of the biggest artists in the world will soon be taking over Vatican City.

Disney+, Hulu and ABC News revealed on Monday (Sept. 8) the full lineup for their upcoming Grace for the World concert. Jennifer Hudson and K-pop sensation BamBam will now join a blockbuster roster of performers, which includes Pharrell Williams with the Voices of Fire Gospel Choir, John Legend, Karol G, Clipse, Teddy Swims, Jelly Roll and more.

Adding to the spectacle, Nova Sky Stories will dazzle audiences with a spectacular aerial drone and light show inspired by the Sistine Chapel’s iconic imagery.

The concert will be live streamed on Disney +, Hulu and ABC News Live starting at 3 p.m. ET on Sept. 13. Taking place in the legendary St. Peter’s Square, this will be the first concert to ever transpire at St. Peters and will be executive produced by Pharrell and his company Something in the Water, Andrea Bocelli and Nova Sky Stories.

The performance also coincides with the 2025 Jubilee year and serves as the grand finale to the third World Meeting on Human Fraternity, hosted by the Fratelli Tutti Foundation. The two-day conference, focused on spiritual and cultural initiatives, is aimed at celebrating “a relational intelligence that embraces differences, builds bridges between generations and cultures, inspires personal choices, and guides public policies,” according to the event’s website.

The Vatican City concert is free and open to all. Guests are asked to arrive at St. Peter’s Square by 8 p.m. CEST, with the concert commencing at 9 p.m.

Check out a teaser trailer for the event below.

It’s another “Golden” week on the U.K.’s Singles Chart as the KPop Demon Hunters’ hit notches a sixth non-consecutive week at No. 1 on Friday (Sept. 12).

The hit song from the Netflix animated film is the most successful K-pop song ever on the U.K. charts, and only the second No. 1 single following PSY’s “Gangnam Style.” “Golden” is credited to HUNTR/X, and is sung by EJAE, Audrey Nuna and Rei Ami. The song is now in its fourth week at No. 1 on the Billboard Hot 100.

Two further songs from the film also appear in the top 10, with Saja Boys’ “Soda Pop” and “Your Idol” both bumping two spots at No. 4 and No. 7, respectively.

Olivia Dean’s “Man I Need” holds strong at No. 2, her highest ever position on the U.K. Singles Chart. The song currently sits at No. 55 on the Hot 100, up 27 places week-on-week. Sabrina Carpenter’s “Tears” is a non-mover at No. 3, and Disco Lines and Tinashe’s “No Broke Boys” closes the week at No. 5.

There’s new entries in the top 40 for Carpenter’s “When Did You Get Hot?” at No. 9, and Lady Gaga’s “The Dead Dance” from Netflix’s Wednesday season two at No. 13. 

Vintage hits from a number of big names have made the most of viral moments, with Coldplay’s 2000 song “Sparks” rising to a new peak of No. 18, Gorillaz’ “Feel Good Inc” rising three spots to No. 27 and Rihanna’s 2008 song “Breakin’ Dishes” lifting one spot to No. 30.

Yves Tumor has responded after being booed by the crowd during the artist’s opening set for Swedish House Mafia.

The performance happened on Thursday (Sept. 11) at Arthur Ashe Stadium in Queens, N.Y. Videos posted of the opening set show the experimental electronic artist playing industrial electronic music and also lying on the decks during parts of the show, with other footage showing members of the large crowd booing Tumor’s performance.

The situation got messier after the show, when Tumor posted a video to Instagram Stories saying that “if anyone’s curious how the show went, I just got booed offstage for playing the best set of the night by a bunch of the corniest people I’ve ever seen in my f–king life.”

“This city is truly hell on earth,” the artist continued in the video that showed debris being thrown at a poster of New York City. “I thought L.A. was bad. I thought Berlin was bad. I thought Paris was bad. Berlin is definitely worse.”

In a series of other Stories posted to Instagram, Tumor shared a screenshot of negative reactions to the set and wrote, “these subhumans are already spamming my comments. That’s how much they loved it they had that much energy to search me. I truly love my stalkers.” Another Story shows Tumor’s response to the question “What’s the genre called” to which they write “blatant racism.” Another appears to be a screenshot of a text message sent by Swedish House Mafia’s creative director Alexander Wessely saying, “I’m so sorry, that was f–ked up…. You killed it me and the guys loved it.”

Meanwhile, in the charged comments section of a post about about the situation on the Instagram account of EDM House Network, deadmau5 wrote that “This entire comment section is a great litmus test of what EDM is all about right here,” a statement nodding to the culture wars that are common within the scene as underground and more commercial scenes and sounds collide.

A representative for Tumor did not immediately respond to Billboard‘s request for comment.

Swedish House Mafia is performing in New York City again Friday (Sept. 12) Under the K Bridge Park in Brooklyn. Their performance at Arthur Ashe Stadium made them the first electronic act to ever headline the venue.

Taylor Swift has agreed to sit for a deposition in Blake Lively and Justin Baldoni’s bitter legal feud over the movie It Ends With Us, Baldoni’s camp claims in new court filings.

Baldoni has been saying for months that Swift’s friendship with Lively makes her a key witness in the lawsuit, in which Lively alleges Baldoni sexually harassed her on the set of It Ends With Us and then orchestrated a retaliatory smear campaign after she complained.

In June, the federal judge overseeing the legal battle granted Baldoni’s request to access Swift and Lively’s text messages as part of the document discovery process. Now, Baldoni wants to depose Swift.

The current discovery schedule has all depositions concluding by the end of September, in anticipation of a March 2026 trial date. But lawyers for Baldoni and his production company, Wayfarer Studios, want an extension so they can question Swift during the week of Oct. 20 — saying in a Thursday (Sept. 11) court filing that the pop superstar “has agreed to appear for deposition” but cannot do so any earlier because of “preexisting professional obligations.”

Swift is notably in the midst of rolling out her highly anticipated twelfth album, The Life of a Showgirl, which arrives on Oct. 3. Swift’s reps have not confirmed whether she has indeed agreed to appear for a deposition, and they previously slammed Baldoni for “creating tabloid clickbait” by dragging the star into the case despite her minimal involvement in It Ends With Us.

Lively’s lawyers have similarly lambasted Baldoni for involving Swift in the litigation, writing in a Friday (Sept. 12) court response that the strategy is designed “to generate a media spectacle.”

The Lively team is against extending the discovery cutoff to question Swift, saying it’s Baldoni’s own fault for waiting until this week to contact the singer’s counsel about scheduling her deposition.

“The Wayfarer defendants’ lack of diligence, and disrespect for Ms. Swift’s privacy and schedule, is astounding,” wrote Lively’s lawyer Michael Gottlieb. “Ms. Swift is someone whose calendar should be presumed to be packed with professional obligations for months in advance. At any point over the past six months, the Wayfarer defendants could have noticed a deposition, served a subpoena and negotiated an agreeable time and place for this deposition. But they did not.”

Judge Lewis J. Liman has not yet ruled on Baldoni’s discovery extension request.

The fiery legal battle between Lively and Baldoni has been in full force since last December, when the actress brought sexual harassment and retaliation claims against her It Ends With Us co-star and director.

Baldoni vehemently denied the allegations and countersued Lively and her inner circle for defamation, though Judge Liman later dismissed Baldoni’s counterclaims as legally invalid. Now, only Lively’s original allegations are headed toward trial this coming spring.

The Baldoni team has sought to involve Swift since the early days of the case, writing in court filings that Lively weaponized the “influential and wealthy celebrities” in her orbit to gain leverage over him while making It Ends With Us.