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Joey Valence & Brae delivered a chaotic, synth-heavy take on Amyl and the Sniffers’ “Security” during their appearance on triple j’s Like A Version, transforming the 2021 punk track into a bass-driven dance-rap performance.

The duo — currently touring behind their second album HYPERYOUTH — stripped back the original’s pub-rock guitars and rebuilt the song around electronic production, booming low-end and rapid-fire vocal exchanges, while still preserving the raw intensity of Amy Taylor’s original delivery.

Speaking during the session, Brae said the pair chose “Security” because of its immediacy and energy.

“Just has so much energy. As soon as you hear it, you want to bounce off the wall,” he said. “So we knew we had to cover that one.”

The duo also praised Taylor’s performance style and the loose, unpolished feel of the recording — qualities that helped make Comfort To Me one of Amyl and The Sniffers’ breakthrough releases internationally.

Released in 2021, “Security” appeared on the band’s second album Comfort To Me, which reached the top 25 on the Australian albums chart and significantly expanded the Melbourne group’s global profile. The album later helped propel Amyl and The Sniffers onto international festival bills and major touring circuits, with Taylor emerging as one of modern punk’s most recognizable frontpeople.

Joey Valence & Brae’s version pushes the song into entirely different territory sonically, drawing from dance music, early Beastie Boys-style rap cadences and hyperactive electronic textures — all trademarks of the duo’s own catalog.

The pair released HYPERYOUTH last year, collaborating with artists including JPEGMAFIA, Rebecca Black and TiaCorine across the project. The album was produced, mixed and mastered entirely by Valence in his Pennsylvania bedroom studio.

Their Like A Version appearance arrived during the Australian leg of the HYPERYOUTH World Tour, which recently included stops in Auckland, Melbourne, Sydney, Brisbane and Perth.

Maná, Alejandro Fernández, J Balvin, Los Ángeles Azules and Belinda will be part of the lineup gracing the opening ceremony of the FIFA World Cup 2026 at the Mexico City Stadium (Estadio Banorte) on June 11, the FIFA announced on Friday (May 8) on its social media channels.

Joining the star-studded lineup are Mexican-American singer-songwriter Lila Downs, Venezuelan star Danny Ocean and South African artist Tyla.

“The FIFA World Cup is a moment the world shares, and that begins with how we open it,” reads the post, which was also shared by FIFA President Gianni Infantino.

“Mexico will kick-off an unprecedented Opening Ceremony with a celebration full of sound, colour, and meaning,” it adds. “It is the first note in a tournament that will echo across Canada, Mexico, and the United States, united by a shared passion for the game that connects millions worldwide.”

The statement highlights that after the start in Mexico City and continuing in the following days in Toronto and Los Angeles, these ceremonies “will bring together music, culture and football in a way that reflects both the individuality of each nation and the unity that defines this tournament. It is a powerful way to begin a truly global celebration.”

Organizers noted that each opening ceremony will begin 90 minutes before the kickoff of the match, starting in Mexico City on Thursday, June 11, at 11:30 a.m. local time. Gates will open four hours before the opening whistle, offering a full set of experiences including exclusive activations and rewards leading up to the game.

Mexico will face South Africa in the opening match of the FIFA World Cup 2026, in a stadium that will go down in history as the first to host three FIFA World Cups. The FIFA World Cup 2026 will feature 104 matches in 16 host cities, starting on June 11 in Mexico City and concluding on July 19 in New York at the MetLife Stadium, which has been rebranded for the event as the New York New Jersey Stadium.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

WWE Backlash 2026 is here and the wrestling event is already turning out to be one of the most anticipated events of the season. Roman Reigns is put to the test as he defends his WWE World Heavyweight Championship title after just won the belt during WrestleMania 42. Now, he is set to go up against Jacob Fatu during WWE Backlash.

Keep reading to learn more about the event including how to watch WWE Backlash online.

When and Where Is WWE Backlash 2026?

WWE Backlash kicks off on Saturday (May 9), beginning at 6 p.m. ET/3 p.m. PT with coverage starting at 4 p.m. ET/1 p.m. PT. The event takes place at Benchmark International Arena in Tampa, Florida.

How to Watch WWE Backlash 2026 Online?

WWE Backlash exclusively livestreams on ESPN Unlimited. Not a subscriber? You can get the sports streaming service for just $29.99 per month. It features every ESPN network, including ESPN, ESPN2, ESPNU, ESPNEWS, ESPN Deportes, SEC Network, ACC Network, as well as ESPN on ABC, ESPN+, ESPN3, SEC Network+ and ACC Network Extra — all in one app. Sign up for ESPN Unlimited below.

Who’s Performing During WWE Backlash 2026?

Although he’s not performing, rapper Lil Yachty is scheduled to appear The Gingerbread along side Trick Williams in a title match to defend his WWE United States Championship belt against Sami Zayn.

Meanwhile, John Cena is set to appear during the event to make a major announcement.

What’s the Match Card for WWE Backlash 2026?

Check out the full WWE Backlash match cards, below.

  • Roman Reigns (champion) vs. Jacob Fatu, World Heavyweight Championship, Main Event
  • Danhausen and Surprise Tag Team Partner vs. The Miz and Kit Wilson
  • Iyo Sky vs. Asuka
  • Trick Williams (champion) with Lil Yachty vs. Sami Zayn, WWE United States Championship
  • Seth Rollins vs. Bron Breakker with Paul Heyman

A few weeks back, it was the Game. Now we can add DJ Whoo Kid to the list of people saying that the rap game is missing Drake on the charts.

Whoo Kid sat down with Diverse Mentality recently, and was asked about the Toronto rapper using his drop for the Kendrick Lamar diss track “Push Ups,” revealing that Drake hit him up randomly for permission while he was on a cruise with a significant other. He also said the moment helped younger fans become familiar with his mixtape days before equating it to the battle between the two rap titans. “You know, the thing I’ve learned when you do stuff like that? It’s just a moment, man. Everything is a moment. Kendrick had his moment,” Whoo Kid said. “Six months, he’s the man. Then the Super Bowl, he’s the man.”

However, according to him, the genre is in dire need of Drake making his return to chart dominance.

“But the thing about Drake, he uses patience as a way of getting back,” he explained. “As you can see, I mean, where has hip-hop been? There’s no Billboard charts, there’s nothing. I think French Montana and Max B barely is like in the 80s and thank God they there in the Hot 100, but I don’t know. I think Sexyy Red is back up now because she just dropped, but there’s not really nobody like…I don’t know. You tell me. I’m not an expert in this, but I know when he’s here, we’re on the charts. If you wanna talk numbers and facts, whether it’s inflated or whatever ’cause labels been inflating sh– for years.”

The wait is almost over, though, as Drake’s ninth solo album Iceman is set to drop next week, on May 15.

You can watch the clip below.

Punch, Top Dawg Entertainment’s president, stopped by The Joe Budden Podcast recently and was asked directly about “the bot allegations” that have been levied by fans online in a Patreon clip that has surfaced online.

“I don’t got nothing to say about it,” he answered. “We don’t bot.”

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Budden then peppered him with a series of questions where he asked if he ever purchased bots, if he knows where to purchase bots, and if he’s aware of people in the industry using bots to their advantage, with Punch answering “no” to every question except the last one, to which he added that juicing numbers has been an industry practice since the days of Myspace. “But our whole thing was like, if we do that, how are we going to know who the actual fan is?” he continued. “Like, we do a show, don’t nobody show up because it was all fake. So we purposely chose not to do that back then.”

The conversation then went into how something like bots could benefit an artist if they were in a close race to No. 1 on the charts, to which Punch replied, “If that’s your aim, then yeah, I could see that, but we never been based on actual numbers. Our true metric is seeing people in them seats at the show.”

In another clip, Punch was asked why Kendrick Lamar‘s decision to move on from the label that helped become a superstar happened so seamlessly. “It goes back to what you were saying earlier about being principled,” he answered. “We all cut from similar cloth. We understand. Kendrick fulfilled all his contractual obligations and he wanted to expand what he was doing. So, yeah, let’s do it.” He added that they still consider themselves family and pointed out that SZA was featured on “Luther,” made an appearance at the Super Bowl, and co-headlined a stadium tour.

If you want to watch the full episode, head over to The JBP Patreon.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Two world-class heavyweights go head-to-head in England with British boxer Fabio Wardley (20-0-1) defending his WBO Interim World Heavy title against fellow Brit Daniel Dubois (22-3-0) in a highly anticipated championship match on Saturday, May 9. The bout is scheduled for 12 rounds.

Fabio Wardley vs. Daniel Dubois takes place at Co-op Live Arena in Manchester, England, starting at 1 p.m. ET/10 a.m. PT. The main event begins around 6 p.m. ET/3 p.m. PT.

Want to watch Fabio Wardley vs. Daniel Dubois online? The Wardley vs. Dubois PPV price is livestreamable for $59.99 on DAZN.

However, if you sign up for the “Ultimate Tier,” you can get access to the PPV livestream for $49.99 per month with an annual plan. The package comes with 12 PPV events, High Dynamic Range (HDR) 4K Ultra HD video quality with Dolby 5.1 surround sound for select events, access more than 100 live fights every year, along with fight replays, highlights, documentaries and much more.

DAZN is home to worldwide sports, such as International Federation of Association Football, Bare Knuckle Fighting Championship, National League, UEFA Women’s Championship League, European Rally Championship and World Rallycross Championship, The Ring Boxing, Riyadh Season Boxing and other sports leagues. Learn more about DAZN here.

Main Card, 1 p.m. ET/10 a.m. PT

  • Fabio Wardley (champion) vs. Daniel Dubois, WBO Interim World Heavyweight Title Bout, Main Event
  • Jack Rafferty vs. Ekow Essuman, Super Lightweight
  • Bradley Rea vs. Liam Cameron, Light Heavyweight
  • David Morrell vs. Zak Chelli, Light Heavyweight
  • Khaleel Majid vs. Gavin Gwynne, Super Lightweight
  • Bakhodir Jalolov vs. Agron Smakici, Heavyweight

What Is Wardley’s and Dubois’s Walkout Music?

While Queensberry Promotions has yet to announce each boxer’s walkout music for the main event, they usually approach the ring to the same songs during their matches. Wardley typically walks out to “Can’t Be Touched” by Roy Jones Jr., while Dubois prefers to walk out to “I Don’t Want to Be a General” by Dennis Brown. It’s likely that these songs will make an appearance during the event.

On Saturday, May 9, Fabio Wardley vs. Daniel Dubois PPV is streamable on DAZN, starting at 1 p.m. ET/10 a.m. PT. The main event is expected to start around 6 p.m. ET/3 p.m. PT.

Want more? For more product recommendations, check out our roundups of the best Xbox dealsstudio headphones and Nintendo Switch accessories.

The Red Hot Chili Peppers has sold its recorded music catalog to Warner Music Group (WMG) for more than $300 million, a source confirms with Billboard. The company purchased the catalog via its $1.2 billion joint venture with Bain Capital, which is aimed at acquiring both recorded music and publishing rights.

Billboard was first to report that the Chili Peppers was shopping its recorded catalog in February 2025, with sources saying the band was seeking up to $350 million. At the time, some sources told Billboard a deal had already been reached, and that WMG was the most likely buyer, but money hadn’t yet changed hands. 

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Sources previously told Billboard the band owns its 13 studio albums and other releases issued by WMG in the U.S., but Billboard couldn’t determine if it owned its first four studio albums (also part of the sale) released by EMI in the U.S. It’s also unclear if the deal includes name, image and likeness rights for the band. 

The Hollywood Reporter first reported news of the sale finally being executed on Friday (May 8), after WMG announced it had acquired $650 million in recorded music and publishing catalogs via the Bain joint venture so far.

According to Billboard estimates published last year, the Red Hot Chili Peppers master recording catalog generates about $26 million in revenue annually, with the majority of that coming from WMG’s part of the catalog, including such smash albums as Blood Sugar Sex Magik and Californication.

News of the sale to WMG comes five years after the band sold its music publishing catalog to Hipgnosis for between $140 million and $150 million. The publishing assets and recorded music catalog were both shopped by law firm Myman Greenspan Fox Rosenberg Mobster Younger & Light, according to sources.

WMG declined to comment. Eric Greenspan, the lawyer who had been shopping the Red Hot Chili Peppers deal, didn’t respond to a request for comment by press time.


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The members of NewJeans and their label partners have been sued in the U.S. over purported similarities between their hit 2024 track “How Sweet” and an outside demo submitted during the songwriting process.  

The Thursday (May 7) lawsuit, obtained and first reported by Billboard, lodges copyright infringement claims against NewJeans’ label ADOR, its parent company HYBE and performers Minji, Hanni, Haerin, Hyein and Danielle. The five women were part of NewJeans beginning in 2022, though Danielle recently departed amid a contract dispute between the powerhouse K-pop girl group and ADOR.

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NewJeans released “How Sweet” in May 2024 on an EP of the same name. The song went on to peak at No. 15 on the Billboard Global 200 and No. 7 on the Billboard Global Excl. U.S. chart. Four songwriters are now alleging that the track copied key elements from their demo “One of a Kind.”

According to the lawsuit, songwriter Audrey Armacost was sent an instrumental track by her publisher in January 2024 and invited to submit topline lyrics and melody for consideration by NewJeans. Armacost convened with three other writers — Aidan Rodriguez, Adam Gokcebay and Michael Campanelli — and together, they say they wrote and recorded “One of a Kind” over that instrumental.

The four writers say they sent “One of a Kind” along to NewJeans, but were told it was not selected. Yet when “How Sweet” was released four months later, the lawsuit claims the song’s first verse was “quantitatively and qualitatively similar” to the first verse in “One of a Kind.”

“Both works are in 4/4 meter and the key of B flat minor,” reads the legal complaint. “And both works contain a topline that includes an approximately eight-bar, 31-note melodic sequence consisting of four series.”

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Armacost, Rodriguez, Gokcebay and Campanelli allege HYBE, ADOR, the NewJeans members, and a host of other collaborators and distributors violated their rights by failing to license the “One of a Kind” demo. Through the lawsuit, the four songwriters are seeking a cut of the royalties from the “great commercial success” of “How Sweet.”

“Plaintiffs, as joint authors and co-owners of the composition of ‘How Sweet,’ are entitled to their pro rata share of the profits that defendants have each gained from the exploitation of ‘How Sweet,’” the complaint reads.

A lawyer for the four writers, Trevor Barrett, said in a Friday (May 8) statement to Billboard, “Adam, Aidan, Audrey and Michael are accomplished songwriters who were deeply disappointed to discover this blatant copying of their original song, ‘One of a Kind,’ in New Jeans’ ‘How Sweet.’ They look forward to having their rights acknowledged and vindicated via this lawsuit.”

Reps from HYBE did not immediately return a request for comment on the claims.

The new lawsuit comes in the midst of an ongoing reconciliation between some members of NewJeans and ADOR following a protracted legal battle of their own.

In 2024, all five original NewJeans members attempted to sever ties with the HYBE subsidiary and go independent under the new moniker NJZ following the controversial firing of their mentor, former ADOR CEO Min Hee-jin. This led to a lawsuit, and ADOR ultimately prevailed when a a South Korean court ruled in October that the women must remain under an exclusive contract until 2029.

In the wake of that ruling, Hanni, Haerin and Hyein all decided to return to ADOR and resume working with the label. Danielle will not be part of NewJeans’ future; ADOR announced in December that they label had dropped her from the group and alleged that a member of her family bears “significant responsibility for causing this dispute.” Minji is still negotiating a possible return, and The Korea Herald reported this week that discussions are moving in a “positive direction.”


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All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

aespa is embarking on their fourth world tour and this time it’s titled SYNK: COMPLaeXITY.

The four-member K-pop girl group, consisting of Karina, Giselle, Winter and Ningning, announced their tour on April 21, alongside the news of their second studio album titled LEMONADE. The album is set for release on May 29, while aespa will make stops in North America, Latin America, Europe and Taipei.

The group will begin their North American stint on Sept. 15 in Hamilton, ON at TD Coliseum before making stops in Washington, D.C., Atlanta, Miami, Dallas, Los Angeles, Oakland and other cities. Afterwards, aespa goes on a nine-city European run, which will open in Manchester, England in January 2027. The tour closes in Paris on Feb. 2, 2027.

During the tour, fans can expect solo, as well as group performances of tracks from their past albums, along with songs from their upcoming album LEMONADE.

Below, we’ll be showing you where you can buy affordable tickets to the girl group’s 2026 world tour. Keep reading to learn more.

Where to Buy Affordable Tickets to aespa’s SYNK: COMPLaeXITY 2026 Tour

Here’s Where to Buy Affordable Tickets to aespa’s SYNK: COMPLaeXITY Tour Online

OFFICIAL TICKETING

Ticketmaster


General admission for aespa’s tour went on sale Wednesday, May 6. Ticketmaster is the official retailer to snag tickets to the K-pop girl group’s tour. The platform has a slew of tickets readily available, but competition for seating is often fierce. However, it’s worth keeping your eyes peeled for deals. The ticketing service offers a fan guarantee, which allows for cancellations, refunds or exchanges within 24 hours of booking. However, these options are subject to certain exclusions.

Where to buy affordable tickets to aespa's  SYNK : COMPLæXITY 2026-27 world tour online.

EDITOR’S PICK

StubHub


StubHub is another good option. As of this writing, we’ve seen pricing for as low as $123. The platform makes buying tickets easy with its “FanProtect Guarantee,” which protects purchases with authentic tickets and refund policies. Plus, if your event is canceled and not rescheduled, you will receive a credit worth 120% of the amount you paid, or the option of a cash refund.

Where to buy affordable tickets to aespa's  SYNK : COMPLæXITY 2026-27 world tour online.

PROMO CODES

SeatGeek


On SeatGeek, a quick click through the website reveals tickets for aespa’s tour go for as low as $110, as of this writing. Right now, you can use promo code BILLBOARD10 at checkout to receive $10 off. The ticketing service features a buyer guarantee that ensures smooth ticket purchases every time.

Where to buy affordable tickets to aespa's  SYNK : COMPLæXITY 2026-27 world tour online.

EARN REWARDS

Vivid Seats


Another great option is Vivid Seats. At the time of publication, aespa’s tickets are selling for as low as $100 for venues like UBS Arena in Elmont, NY. The site has some of the lowest pricing we’ve seen on our search thus far.

If you’re looking to make ticketing on Vivid Seats even more affordable, you can use our promo code BB30 to snag $30 off your purchase. The ticketing service offers a 100% buyer guarantee that vows your transaction will be secure, that your tickets will be delivered before your event, and that those tickets will be valid and authentic. 

Where to buy affordable tickets to aespa's  SYNK : COMPLæXITY 2026-27 world tour online.

PROMO CODE

TicketNetwork


TicketNetwork is great for those seeking out aespa tour tickets. When you search for tickets on TicketNetwork, you can use our code BILLBOARD300 to save $300 off orders of $1,000 or more, or code BILLBOARD150 to save $150 off orders of $500 or higher. Pricing for ticketing start around $124 and above, as of this writing. The third-party retailer has lots of seating still available too.

Where to buy affordable tickets to aespa's  SYNK : COMPLæXITY 2026-27 world tour online.

LOWEST PRICING

Gametime


During our search for aespa’s tour tickets, we’ve seen pricing for as low as $107 on Gametime, at the time of publication, which is pretty great. To make shopping for the perfect ticket even easier, Gametime will notify you when certain venues and dates are discounted. You’ll also see indicators on your search that will tell you which venues are in high demand, a helpful tool for preplanning your attack plan when purchasing tickets.

2026 SYNK: COMPLAEXITY North American Dates

  • Sept 15: Hamilton, ON – TD Coliseum
  • Sept 18: Elmont, NY – UBS Arena
  • Sept 22: Washington, D.C. – Capital One Arena
  • Sept 24: Atlanta, GA – State Farm Arena
  • Sept 26: Miami, FL – Kaseya Center
  • Sept 29: Dallas, TX – American Airlines Center
  • Oct 3: Los Angeles, CA – Intuit Dome
  • Oct 6: Oakland, CA – Oakland Arena
  • Oct 9: Seattle, WA – Climate Pledge Arena
  • Oct 11: Vancouver, BC – Rogers Arena

To keep in the know on K-pop concerts happening this year, check out our comprehensive article here.

Taylor Swift is fiercely protective of her intellectual property. The world learned this during the pop superstar’s well-publicized pursuit to own her music by re-recording — then eventually buying back — her back catalog masters. Behind the scenes, Swift has also spent the last two decades quietly building a formidable trademark portfolio.

In addition to now owning all of her music, Swift has more than 150 trademarks, giving her ownership over various uses of her name, initials, most of her album titles, various song titles, lyrics and numerous words and phrases including “Swiftie,” “Swiftmas” and “Taylor’s Version.” She even has a trademark on the names of her cats.

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It’s common for artists to file legal protections for words associated with their work; stars like Beyoncé, Justin Bieber and Bad Bunny also hold large trademark portfolios. This means that when someone else tries to use an artist’s name or work without permission, the artist has the weight of the law behind them to stop it. Indeed, Swift’s legal team has taken advantage of these enforcement rights over the years to crack down on everything from counterfeit merch to a “Swift Home” bedding line.

Swift does not own every trademark she’s ever applied for. To the contrary, her team has put in more than 300 submissions to the U.S. Patent and Trademark Office over the course of her career — more than double the number of trademarks she now owns. Some of these include marks she once registered but later allowed to expire once their use ran out, like “The 1989 World Tour”.

Other filings have been abandoned by Swift’s team before the completion of the lengthy Trademark Office review process, which can often take years and make a trademark obsolete by the time approval rolls around. Such was the case for “The Swift Life,” the title of a Swift-themed app that had already been discontinued when it reached the final trademark registration phrase.

During this review process, the Trademark Office vets a trademark application for similarities to any pre-existing registrations. This has led the office to reject some of Swift’s marks over the years. A requested mark for her 2019 song “The Archer,” for example, was determined to be too similar to one already owned by the indie label Archer Records. Similarly, Swift’s recent attempt to trademark The Life of a Showgirl for her record-smashing latest album was preliminarily denied in November because Las Vegas performer Maren Wade already owns the phrase “Confessions of a Showgirl.”

Months later, Wade filed a highly publicized trademark infringement lawsuit against Swift. The star’s lawyers are fighting those claims, which they call “absurd” and “meritless,” and say they remain confident that the Trademark Office will ultimately allow them to register a mark of their own for The Life of a Showgirl. “It is widely known that Ms. Swift’s fanbase is a dedicated and informed set of consumers,” her attorneys wrote in their first response to the lawsuit. “Their attention to detail is legendary… There is no chance they would be confused between plaintiff’s cabaret shows and Ms. Swift’s album and related promotional merchandise.”

While this Showgirl fight remains ongoing, Swift’s lawyers are also continuing to pursue ownership of a host of other trademarks. The singer has pending applications to trademark phrases like “Female Rage: The Musical” (Swift’s description of her set for The Tortured Poets Department during the Eras Tour), as well as “Taylor Swift Taylor’s Version” and “Reputation Taylor’s Version” (signs of hope, perhaps, for Swifties clamoring for the release of her remaining re-records). She also recently filed to trademark her voice and likeness, an unusual legal maneuver that is untested but likely aimed at combatting artificial intelligence deepfakes.

Below, Billboard has collected and contextualized a running list of all the trademarks Swift currently owns. This story will update as her IP portfolio evolves.