Are you ready for some football? Shaboozey sure is. The “A Bar Song (Tipsy)” singer has partnered with Amazon’s Prime Sports for “Let ‘Em Know,” a new song that will be part of the Thursday Night Football show opening and a national marketing campaign.

The song — snippets of which can be heard in the commercial below and will be part of the campaign rolling out Thursday (Sept. 4) — will premiere Sept. 11 with the Green Bay Packers and Washington Commanders game, and will lead TNF Tonight and Thursday Night Kickoff on Prime Sports each week. This is Prime Sports’ fourth year streaming NFL games on Thursday nights.

“Our collaboration with Shaboozey has produced an incredible campaign that showcases TNF as the ultimate fan experience,” Stacey Rosenson, head of U.S. sports marketing for Prime Video, said in a statement. “Shaboozey is the perfect artist to kick off TNF each week and reflects our commitment to capturing the energy of starting the weekend on Thursday nights.”

Composer Pinar Toprak’s original anthem, commissioned for Thursday Night Football‘s debut in 2022, will continue to serve at TNF’s theme music.

Shaboozey’s career continues to soar. “A Bar Song (Tipsy)” is the longest-running No. 1 by a solo artist on the Billboard Hot 100 at 19 weeks. His follow-up, “Good News,” stands at No. 1 this week on Billboard‘s Country Airplay chart.

“Let ‘Em Know” continues Shaboozey’s connection with the NFL: He performed a three-song medley at the Detroit Lions Thanksgiving halftime show in November 2024 against the Chicago Bears.

At a time when social media rewards musicians who share their lives with the public, Japanese artist Ado is proof that mystery can also be a valuable commodity. 

The 22-year-old singer spent the spring and summer performing at arenas in 33 cities across Asia, Europe and the Americas, standing inside a see-through, cube-shaped cage that revealed only her silhouette. Without a video screen to show her face — even cameras and binoculars are strictly forbidden at her concerts — the audience focuses only on her electrifying voice and the orgy of light and graphics displayed behind her. 

“I suppose one of the reasons why the people that come to my shows or listen to my music is so diverse because my style doesn’t specifically speak to a particular gender,” the 22-year-old singer tells Billboard’s Behind the Setlist podcast through an interpreter. “Perhaps it has to do with me not revealing my identity, but also my voice as well. It’s not typically feminine, and sometimes it can be even more powerful than a masculine voice.” 

Although the audience could see only her silhouette, Ado was aware of her surroundings. “I see a lot,” she explains. “There’s some people out there who are jumping, and then there are others that are like laser fixed on my performance. There are little kids and they’re also older people as well. There’s a wide diversity in terms of my fans, from teenagers to older people [who] seem to love me or love my music, which I appreciate.”

Ado has quickly ascended to a leading role in Japan’s push to export its music to the U.S. and other markets. Signed to Universal Music Group in 2020, Ado topped the Billboard Japan Hot 100 chart the following year with the song “Usseewa.” 

The global popularity of Japanese anime has helped Ado gain a following outside of her home country. In 2022, she was the singing voice actress for the animated film One Piece Film: Red and reached No. 1 on the Billboard Global 200 chart with “New Genesis” from the movie. Last year, she found a new audience as a guest on a remix of Imagine Dragons’ “Take Me to the Beach.” This year, Ado become Spotify’s most-streamed Japanese artist outside of Japan.

On her recently concluded Hibana World Tour, Ado became the first Japanese artist to sell out such arenas as Crypto.com Arena in Los Angeles, SAP Center in San Jose, Dickies Arena in Fort Worth, Texas, Uber Arena in Berlin, Accor Arena in Paris and Ziggo Dome in Amsterdam. Through it all, audiences know very little about her other than her music.

As Ado is quick to point out, she’s not unique in hiding her identity. Anonymity is standard in Japan’s vocaloid music scene that centers around music made by a singing synthesizer software that creates vocals in the same way a person can use a digital audio workstation to create songs by dragging and dropping notes onto a screen. She grew up watching vocaloid videos on Niconico, a Japanese video sharing platform, and eventually become an utaite, a person who covers vocaloid songs. Utaite singers traditionally keep their identities a secret and use an avatar to represent their public persona.  

“I thought, ‘Okay, this might be something that I can do.’ Because up until then, if I thought that if I were to sing or become a singer, it involved going on TV, showing who I was, you know, having a spotlight on myself. But being able to do this anonymously seemed to bring up endless possibilities.”

Listen to the entire interview with Ado in the embedded Spotify player below, or go to Spotify, Apple Podcasts, Amazon Music, iHeart, Podbean or Everand. 

Ice Spice and Latto have ended their feud, surprising fans with a thumping collaboration, “Gyatt,” that hit streaming services on Thursday (Sept. 4).

It’s unclear exactly what caused the pair of rappers to turn the page and get back on good terms, but fans welcomed the admirable team-up with open arms.

“Lord, have mercy, shape real curvy/ My man buy me sticks and stones, words can’t hurt me,” Latto shrewdly rhymes.

Ice Spice takes the baton, rapping about how her figure and beauty always keep the guys fawning over her every word. “N—s be so damn thirsty, tryna jump head first into this fountain,” she raps.

The cover art finds Latto and Ice Spice in the wrestling ring with “Gyatt” splattered across the top in WWE font, which could be a hint at where the direction of the music video is going when it arrives on Friday (Sept. 5).

The Ice Spice/Latto feud dated back to 2023 and they continued to exchange shots last year on Billboard Hot 100 hits like “Sunday Service” and “Think U the Shit (Fart).”

Latto also sniped at Ice in her 2024 Billboard cover story while seemingly dissing her rapping ability by saying she wouldn’t even be worth engaging in a rap battle.

“If I was to do [a battle], it would have to be with somebody I feel like Imma go tit for tat with,” Latto said. “I really don’t mean it as shade. Would she even want to do that?”

Latto’s last single arrived in May with “Somebody,” but she’s dished out some assists like her recent appearance on Young Nudy’s PARADISE album.

Ice Spice has kept relatively quiet in 2025 until “Gyatt”; the Bronx native didn’t release a single all year until joining forces with Latto (though she hopped on KATSEYE’s “Gnarly” remix in June).

Listen to “Gyatt” below.

Losing a parent is one of the hardest things most people will go through in their lives. But when that person is also one of the most beloved rock stars of all time, someone you’ve had to share with the world your whole life even as you made your own private, cherished memories with them, is infinitely harder.

That’s why Jack Osbourne explained in a new 16-minute YouTube video that he’s had to take some time out of the spotlight to process his grief over the loss of his father, Ozzy Osbourne. “It’s been about six weeks since my father passed. I know a lot of my listeners and a lot of people were waiting for me to release a podcast, do something and I haven’t really known what to do,” said Jack, 39, about his struggle to wrap his head around losing Ozzy, who died on July 22 at age 76.

Osbourne, a married father of four who said his priority was to take care of his family, described going back to Los Angeles a week after attending what would be his dad’s final live performance at the all-star Back to the Beginning show in Ozzy’s native Birmingham, U.K. on July 5. Scheduled to go on a family trip to Portugal two days after the gig, Jack said that outing was scotched when his kids got a nasty stomach bug, which gave them time to hang out for a bit at the family home in England during what would turn out to be his dad’s final weeks.

“It was awesome. It was sunny. My dad was in an amazing mood, he was really happy every day,” Jack said of Ozzy in the days after the triumphant show where he performed while seated on a bat-covered throne. “It was great. It was a lot of fun and I kind of look back on that now and I’m so grateful,” Jack said of the special time. “I’ve never been so grateful for my kids to have the stomach flu.”

Jack said Ozzy was “great” when he left him on July 13, then described waking up in his L.A. home to a knock on his door at 3:45 a.m. by someone who has worked with the family for more than three decades. “When I looked through my window and I saw it was him, I just knew something bad had happened. I was informed that my father had passed,” Jack recalled, describing feeling sad, frustrated and angry before reaching a place where he was thankful that “‘he’s [Ozzy] not suffering anymore, he’s not struggling,’ and that’s something.”

Appearing to hold back tears, Jack added, “I wish he was still here. I wish he was still with us all, but he was having a rough go and I think people saw that at the show.” Ozzy was determined to perform a solo set and a reunion set with his original Black Sabbath mates at the show, despite not being able to stand up due to a variety of health issues. The rock icon did more than manage, delivering the kind of emotional, powerful final bow that few artists get to have when they know that their curtain call is fast approaching.

“He got to say goodbye in such a profound way. He got to thank his fans. He got to see his friends he hadn’t seen in such a long time,” Jack said of Ozzy’s last performance, which was surrounded by tribute sets from his musical progeny, including Metallica, Slayer, Pantera, Mastodon, Lamb of God, Anthrax, Alice in Chains and many more.

“No one expected it to happen as quickly as it did and when it did, it was not anything that was on our radar,” Jack said of Ozzy’s death two weeks after the show. Inundated with texts and calls from friends, Jack described the outpouring of love he received, which he called “validating,” tearing up as he called Ozzy “a special guy… [who] meant a lot to a lot of people.”

Though he prefers to keep the details of the funeral private for now, Jack shared a quote he recited at Ozzy’s private family funeral from, of all people, actor and sometimes rocker Keanu Reeves. The bit of wisdom came from a 2019 Late Show show interview during which Stephen Colbert asked Reeves what he thinks happens when we die. “‘I don’t know what happens when you die, but what I do know is that the people that love you miss you the most,’” Reeves said.

“I felt that… immensely,” Jack said through tears. “He wasn’t just a father to me. He was my colleague, we worked together in so many capacities,” he added, recalling being housemates with his dad when he moved back into the Osbourne estate with is own family in his late 30s for a bit. “A friend, a text buddy, a joke cracker… I was so lucky. I had such a great relationship with him and I’m so grateful.”

In a bright note from Jack, he said “there was so much accomplished” before Ozzy’s death, projects he said the family will discuss when the time is right. Though hampered by the effects of Parkinson’s disease and the aftermath of a number of spine and neck surgeries, Osbourne was very busy in his final year working on a number of now-posthumous projects. First up will be the rocker’s second memoir, Last Rites, due out on Oct. 7, followed by the Ozzy Osbourne: No Escape From Now doc chronicling the singer’s six-year struggle to recuperate from a devastating 2019 fall — due out on Paramount+ later this year. In addition, the 100-minute concert film, Back to the Beginning: Ozzy’s Final Bow, is slated to hit movie theaters in early 2026.

“The price we pay for loving someone so much is grief,” Jack said. “And the pain of grief when they’re gone. I’m okay with that… My father’s legacy will continue… Ozzy Osbourne does not end because he passed away on July 22nd. He’s exploding through the universe and we’re all seeing it.”

Watch Jack discuss his father’s passing below.

A federal judge says Musixmatch must continue to face an antitrust lawsuit over allegations that the company is trying to monopolize the market for providing lyrics to streamers like Spotify.

In a ruling issued Wednesday, Judge Jacqueline Scott Corley refused to dismiss a case filed earlier this year by rival LyricFind, which claims that Musixmatch inked an “unprecedented” exclusive deal with Warner Music Group, shutting out competing companies from that label’s huge catalog.

If later proven with evidence — a big “if” in any lawsuit” — the judge said that LyricFind’s allegations would amount to a violation of federal antitrust laws.

“LyricFind plausibly alleges Musixmatch entered an exclusive agreement causing injury of the type antitrust laws are intended to prevent and substantially foreclosing competition,” Judge Corley wrote.

Musixmatch had argued that it did nothing wrong by signing the deal with Warner Chappell Music (which is not named as defendant in the lawsuit nor accused of wrongdoing). But the judge cited an earlier ruling against a company that had used exclusive contracts to shut out competition.

“That is essentially what LyricFind alleges here: that Musixmatch entered an exclusive deal with WCM — never asking LyricFind for a competing bid — which precludes LyricFind from offering services for WCM-controlled compositions, which account for approximately 30% of streams and around 60% of the top 100 songs,” Judge Corley wrote.

Wednesday’s ruling is not a final decision, but is a clear win for LyricFind. The ruling avoids an early-stage dismissal and allows the lawsuit to proceed into discovery, where both sides exchange evidence, and toward an eventual trial. A spokesman for Musixmatch and TPG did not immediately return a request for comment.

The decision came in a courtroom showdown between two leading lyrics service providers – companies paid by Spotify, Apple, YouTube and other streaming services to secure licenses, transcribe songs, and administer royalty payments for lyrics displayed on the platforms.

At the center of the case, filed in March, is a licensing agreement that MusixMatch and its private equity owner TPG Global recently struck with Warner Chappell, which LyricFind says has “eliminated competition and raised prices.”

The major music companies have historically licensed their vast catalogs of lyrics on a non-exclusive basis, the lawsuit claims, allowing firms to compete for the right to provide them to streamers. But LyricFind says the new deal with Warner was instead an exclusive deal that shuts out competitors from a third of the market — an arrangement that it called “unprecedented.”

“Musixmatch’s goal was simple: make sure that Spotify, and other [streamers], have no choice but to obtain [lyrics] from Musixmatch despite its higher fees — a plainly anticompetitive result,” the company’s attorneys wrote at the time. (Neither Warner Music nor Spotify were named as a defendant in the case or accused of any wrongdoing.)

Musixmatch hit back in June, asking the judge to dismiss the case. The company said it had done nothing wrong, and that LyricFind had turned to the courts simply because it was “angered” that a particular customer had cut ties in favor of a competitor.

“LyricFind, unable to convince WCM to do business with it instead, has filed this meritless antitrust suit … hoping it can obtain through litigation what it was unable to win in the marketplace,” the company’s lawyers write. “Stripped of buzzwords and hyperbole, the core of LyricFind’s complaint is simply that WCM chose Musixmatch instead of LyricFind.”

But in Wednesday’s ruling, Judge Corley said LyricFind had a stronger case than Musixmatch had claimed. At one point, she cited the alleged leverage that such a deal would give a company in negotiations with a streamer like Spotify.

“LyricFind plausibly alleges that even if it offered superior services and prices, DSPs would still contract with Musixmatch because they need access to WCM songs and are unwilling to bear the cost and inconvenience of contracting with Musixmatch for WCM songs and with LyricFind for the rest,” the judge wrote.

The ruling did dismiss several counts from LyricFind’s lawsuit, including those leveling conspiracy allegations. But the dismissal was not permanent; the judge gave the company a chance to update its lawsuit and refile those claims in the future.

In a statement to Billboard on Thursday, LyricFind’s lawyer Kellie Lerner said she and her client were “pleased” with a ruling that “offers a strong rebuke” to Musixmatch’s claims that the lawsuit was meritless: “We look forward to continuing to amass evidence of Musixmatch and TPG’s anticompetitive scheme.”