The Australian Recording Industry Association’s special 40^th anniversary Hall of Fame event has a special broadcast home.

Presented Thursday, June 11 in Sydney, the special standalone event will air nationally on the Australian Broadcasting Corporation at 9.15pm AEST (5.15am ET), in what the trade body describes as an “historic first.” The show will then beam out Saturday, June 13 on the free-to-air television channel and digital live stream ABC Entertains and via the public broadcaster’s on-demand iView platform. Separately, show highlights and red carpet moments will be available across ARIA and ABC social channels.

As previously reported, the 2026 edition will break from tradition and induct six acts in total: Gurrumul, Jenny Morris, Kate Ceberano, Spiderbait, The Living End and Vika & Linda. 

ARIA has inducted artists into its Hall since 1988. That first class featured Dame Joan Sutherland, Johnny O’Keefe, Slim Dusty, Col Joye, Vanda & Young and AC/DC. In 2005, the trade body created a standalone ceremony ARIA Icons: Hall of Fame, when multiple acts were elevated. It was televised, it resonated with music fans, but proved short-lived as the industry struggled in a post-digital download landscape.

For 2011, the Hall of Fame induction became a spot within the ARIA Music Awards, with two new inductees. Then, from 2012, just one act has been inducted each year at the ARIAs.

Since that first class, scores of Aussie legends have got the nod, from Cold Chisel, to Kylie Minogue, Yothu Yindi, Kasey Chambers, Olivia Newton John, INXS, Crowded House, Archie Roach, Missy Higgins, Tina Arena, and last year’s inductee, You Am I.

Also announced today, May 27, Kate Ceberano, Spiderbait, The Living End, Vika & Linda, Kate-Miller Heidke, Dan Sultan and Mia Wray will perform career-defining hits at the ceremony, organizers say, while the late Gurrumul will be remembered with “a moving celebration” with family members.

Veteran broadcaster and music champion Myf Warhurst is host of the show, to be presented at Sydney’s Carriageworks on Gadigal land. “To be part of the 40th anniversary ARIA Hall of Fame is incredibly special,” Warhurst comments in a statement.

“These artists have shaped Australian culture, soundtracked generations and influenced how we see ourselves through music,” she continues. “From the power and emotion of Gurrumul, to the energy of Spiderbait and The Living End, and the iconic voices of Kate Ceberano, Jenny Morris and Vika & Linda, this is a line-up that truly reflects the depth and brilliance of Australian music. It’s going to be loud, joyful and full of unforgettable moments – exactly what the Hall of Fame should be.”

The ARIA Hall of Fame Special Event is supported by the NSW Government through Sound NSW, and assisted by the Australian Government through the Office for the Arts and Music Australia.

Meanwhile, the 2026 ARIA Awards in partnership with Spotify be presented Wednesday, Nov. 18 at Sydney’s Hordern Pavilion. The recording industry’s flagship ceremony will stream live on Paramount+ and returns to the free-to-air commercial broadcaster Network 10.

As the title character of The Who’s Tommy in its 2024 Broadway revival, Ali Louis Bourzgui sang the show’s most famous refrain: “See me, feel me, touch me, heal me.” That production ran for a too-short four months, but Bourzgui’s haunting voice and magnetic presence left a lasting impression. And two years later, those words he sang as Tommy encapsulate oddly well the ethos — both spoken and not — of his latest role.

As David — the vampire rock star of The Lost Boys, the new musical based on the ‘80s cult-favorite movie of the same name — Bourzgui has to believably telegraph both seductive danger and deep hurt, while often flying high above the stage (and rocking one of the more memorable wigs ever seen on Broadway). The role was made famous in the film by a young Kiefer Sutherland, but Bourzgui imbues it fully with his own charisma — a performance that earned him a Tony nomination for best featured actor in a musical.

“You get auditions sent to you, and most of them, you’re kind of like, ‘This is cool, I can’t really get a grasp of the vibe of this show, but I’ll audition.’ And every once in a while, something comes through where you just feel it tangibly, even through an email,” Bourzgui recalls of first hearing about The Lost Boys. “I saw this initial packet, and I got so excited — like more excited than I’ve been for an audition maybe ever.” 

Much of that had to do with meeting Tony-winning director Michael Arden and hearing demos by The Rescues, the Los Angeles indie band who wrote music and lyrics for the Lost Boys (“I was like oh, these songs are f—ing cool”). But the character of David himself was, Bourzugui says, “so well-written from the start.” Overall, he was struck by how The Lost Boys, despite its big show intentions (and budget), felt like something more intimate, built from the ground up — a feeling that the production ultimately preserves even in the uniquely cavernous space of Broadway’s Palace Theater. 

With traces of glitter still on his face from the day’s matinee, Bourzgui (who is himself a singer/songwriter) spoke to Billboard from his dressing room before a much-needed physical therapy session about how to play a non-cliché vampire, his rock star inspirations, and embracing his own unique voice. 

Movie-to-musical adaptations are popular these days, but it’s rare that they actually work well — and this is one of those rare ones that feels natural onstage. Did you get that sense from the beginning?

Yeah, and I also don’t think I necessarily would have sprung for it if it felt like a generic movie remake, because that’s not the kind of thing I want to be doing. I’ve always kind of been one of those audience members who’s been a little “harrumph” about everything being a movie musical, everything coming from [pre-existent] IP; I am an absolute supporter of completely original work, so that’s what I usually dive towards. But I could tell that this was that, still, somehow. And it’s only proven to be true, and I think it’s also why people are connected to it. [The creative team] never set out to do a remake. It’s not a jukebox musical; if we just used the movie’s soundtrack — all those songs are great, I listen to that album all the time, but they wouldn’t move the plot forward. We didn’t really do anything that’s like copy-paste; the whole thing is in many ways an original work.

It manages to preserve that scrappy “let’s put on a show together” feeling…

There’s a lot of newbies in the room, and I mean that in a positive way. The Rescues were brand-new to this, and so their music was just a true labor of love — they had no jadedness. Apparently they wrote, like, 50 songs for this thing before we got started! And [book co-writer] Chris Hoch is no stranger to the stage, but [book co-writer] David Hornsby is a TV writer, and so for him coming into the theater world and bringing that sort of TV writing sense did so much for this too. Dean Maupin, our drummer, he’s a model and a musician, and he was like, “I kind of want to get into acting,” and all of a sudden his first thing is this Broadway show! We all feel comfortable in this space, because no one has set up any kind of a thing where people have to feel bad for being new at all. 

You have this really unique voice, and thus far in your career it seems like you’ve had the luck of getting to do these non-traditional musicals — in addition to Tommy, you recently played Orpheus in Hadestown and got to do the new musical We Live in Cairo at New York Theater Workshop, where Rent originated. Before you got to Broadway, did you want a more traditional career — or was it always your aim to do something different?

I’m not unaware of how crazy lucky I am, for, like you said, having done this many cool things in such a short amount of time. I’ve always been drawn to new work, and I also have always written my own music, but I think I did get lucky falling in these rooms that were pushing these boundaries. I also think playing guitar kind of got me in some of these places too. I got to do Hadestown — and in all three of these shows, part of my audition process was being able to play guitar. I’ve always wanted to be a character actor, but that sometimes comes as being a secondary [role], so it’s been nice to play some sort of leading roles where I also get to be a chameleon.

Did elements of playing Orpheus and Tommy prepare you to do David?

With both of those shows, I needed to learn what my voice was, because, like you said, it is a little different. I was hard on myself in college, because I wanted to sound like the people I heard on Broadway who were making it, and that was such a very clean sound, and I always had a bit of a rasp, which now I like because it’s great for rock, but I always had a different timbre and was trying to morph it into something else. [But] the minute I started leaning into it, that’s when I started getting jobs.

Tommy and Orpheus were both huge vocal lifts, so I learned how to work on stamina and how to protect my instrument. In this show I’m singing a lot of rock but also screaming and trying to be scary. I also think it was really nice to play Orpheus before David, because they are so different, but I think what makes David effective is having an Orpheus inside of him, like a Russian doll — like, this sweet little boy who wants to fix the world, but somewhere along the way he got really f—ed up. 

Much has been made of your excellent wig, but I’m equally interested in what it’s like to sing with vampire teeth — I’d imagine it’s a complicated saliva situation? 

The teeth are interesting. It’s actually not that hard at all — they’re like Invisalign, they just click in. It’s a mock of my actual teeth, and then they cut out the back plastic, so I can just have the fangs and sound normal. The saliva thing is an aspect… I’ve been usually okay, but there have been a few times, like right after the first time I wear them, I fly up into the air where I’m singing, and there’s literal drool hanging down. [Laughs]

Movement — the flying of course, but also just how you carry yourself — also feels like a huge aspect of how you’ve built this character…

100%, I wanted to go in and make the vampire of it all not cliché or cheesy. So I thought that it would be effective to really figure out what [David’s] body was like — I think he’s technically over 100 years old, or at least in his late 90s. What would it be like for someone like that to be in the body of a 20-year-old, and when does that wax and wane? A lot of the show, I’m really fast, and I’ll do something kind of athletic, and then there are moments when I think he lets the weight of the world slip in on him, and he kind of remembers everything he’s been through in the past century. The whole rock star thing is a character to him, so that he can disassociate from his truth. I’ve also played with the movement pattern of him being like a snake — this sort of slithery thing. All those little touchstones help me make this a real guy with layers.

Are there particular people who you’re channeling in your portrayal of David too? 

I would say the three main people I’m drawing inspiration from are Tim Curry, David Bowie and Sam Reed, who plays Lestat on the Interview With The Vampire TV show right now. Especially David Bowie in Labyrinth, where it’s a little weird, and you’re like, “What is this guy doing? This is crazy,” but there’s also kind of a connection to gender queerness too.

After seeing you in Tommy, my first thought was actually that you gave me major young Tim Curry vibes! Would you do Frank-N-Furter in Rocky Horror? 

Tim Curry has always been a huge, huge, huge inspiration for me, 100%. I would love to do that part for sure.
 

Taylor Swift’s longtime lawyer argued in court on Wednesday (May 27) that the First Amendment protects The Life of a Showgirl from trademark claims.

Douglas Baldridge appeared in Los Angeles federal court to oppose Las Vegas performer Maren Wade’s injunction bid. Wade, who puts on a cabaret show called “Confessions of a Showgirl,” alleges Swift’s latest No. 1 album infringes her intellectual property and wants to block The Life of a Showgirl merch sales until the litigation is fully resolved.

Judge Serena R. Murillo opened up the hearing by suggesting that her “real concern” in this case is whether The Life of a Showgirl should be shielded from trademark litigation because the album is a piece of art — that is, a so-called expressive work under First Amendment case law. Wade’s attorney, Jaymie Parkkinen, argued on Wednesday that the answer is no because Swift uses the album title not just for music, but also for a massive “branding campaign.”

Baldridge, who has represented Swift for years as both outside counsel at the firm Venable and in-house during her record-breaking Eras Tour, countered that The Life of a Showgirl is a “classic expressive work.” He cited Lady Gaga’s recent court victory in a similar trademark lawsuit over her Mayhem album on artistic expression grounds.

“That’s why the First Amendment applies here, and that’s why they can’t get a preliminary injunction, much less win the case,” Baldridge said.

Wade, born Maren Flagg, has owned the trademark “Confessions of a Showgirl” since 2015 for her touring cabaret show about the escapades of a modern-day Las Vegas performer. Swift’s company TAS Rights Management sought to trademark the phrase “The Life of a Showgirl” upon the album’s announcement in August, but the U.S. Patent and Trademark Office (USPTO) preliminarily denied the application due to a likelihood of confusion with Wade’s existing mark. The trademark request remains pending.

The Life of a Showgirl debuted atop the Billboard 200 in October with a record 4 million units in its first week, and the album went on to reign atop the chart for 12 weeks. Then came the lawsuit: Wade sued Swift in March, claiming the new era “threatened to swallow” her much smaller business.

During Wednesday’s hearing, Parkkinen argued that Wade’s trademark is “being absorbed in real-time.” He said an injunction would make a huge difference for Wade, while any resulting lost profits for Swift or her label partners at Universal Music Group would be nothing more than a “rounding error.”

Meanwhile, Swift’s attorneys have asserted in response to the lawsuit that there are significant differences between “Confessions of a Showgirl” and The Life of a Showgirl. Pointedly, they noted in a May court filing that while Swift plays sold-out stadiums, Wade “performs, if at all, in small intimate venues, such as a 55+ active community.”

Swift’s camp has also criticized Wade for intentionally associating herself with Swift’s brand on Instagram and TikTok, citing more than 40 posts that featured hashtags like #thelifeofashowgirl, #TS12, #taylorswift and #swifties. On Wednesday, Baldridge pointed to one post in which Wade said she was in her “showgirl era.”

“I don’t know if your honor follows Ms. Swift, but ‘era’ is a pretty big word for us,” said Baldridge.

Judge Murillo did not announce any ruling on the injunction motion during the hearing, saying a written decision would come down “shortly.” Swift’s team has also requested separately to dismiss the lawsuit outright, and that motion remains pending.

As any artist knows, it’s a tough task to score a top 10 hit on the Billboard Hot 100. The feat usually requires some blend of the following ingredients: a strong song, a charismatic artist, aggressive promotion efforts, a devoted fan base; and, more recently, a viral live performance, meme or other stroke of luck. And that’s just to do it once. To rise (and stay) at the top of the game, demands a consistency that few artists ever achieve. But when artists lock onto that golden combination, they can accomplish a string of hits in rapid succession.

To celebrate those artists, Billboard compiled a roll call of artists who cemented their pop dominance by landing five or more top 10 hits from a single album. Not only does such a feat rely on the same qualities listed above, but either recreating those moments over an extensive period of months, or in recent years, capitalize on streaming’s reshaping of the industry to stack several top 10s upon a big album’s arrival.

It should come as little surprise, then, that the first album to house five top 10s was Michael Jackson’s Thriller, the best-selling album of all time. At the time, Jackson set the benchmark of seven top 10s from one album – a feat later equaled by Bruce Springsteen’s Born in the USA (1984-85), Janet Jackson’s Rhythm Nation 1814 (1989-91) and Drake’s Scorpion (2018). The record then quickly changed hands multiple times: Drake’s Certified Lover Boy scored nine top 10 successes in 2021, but was soon eclipsed by Taylor Swift’s 2022 album Midnights, which upped the record to 10. Swift repeated the perfect 10 with her 2024 release, The Tortured Poets Department, and 2025’s The Life of a Showgirl, while Drake joined the club with 2026’s ICEMAN.

Check out our rundown of albums that have produced five or more top 10 hits on the Hot 100. Drake owns the most projects on the list, with four different albums – while Janet Jackson, Michael Jackson, Taylor Swift and Morgan Wallen are the only other acts with multiple appearances. The who’s-who covers a cross-section of genres, including pop, rock, R&B and hip-hop and includes superstars such as Bon Jovi, Whitney Houston and Katy Perry.

(Note: This list only covers original editions, though three albums – Usher’s Confessions, Rihanna’s Good Girl Gone Bad and Taylor Swift’s Fearless – would qualify if expanded to deluxe versions and reissues.)

Hilary Duff is saying cheers to self love.

Speaking to Billboard‘s Tetris Kelly backstage at her recent Las Vegas concert, the singer — who announced Wednesday (May 27) that Aperol Spritz will sponsor her upcoming Lucky Me Tour — opened up about her current philosophy as she gears up to embark on one of the biggest treks of her career.

“If I were to toast to one thing, it would be toasting to becoming like more of yourself instead of becoming more impressive,” she says poignantly. “We’re in our body, we’re fine with who we are, doing great, we’re proud of ourselves. We’re always reaching for more but not reaching too far where we’re like overextending and exhausted. We’re just happy!”

The Lizzie McGuire alum has a lot to be happy about these days. In addition to kicking off her arena tour in June, the star dropped her first album in a decade, Luck … or Something, in February and reached No. 3 on the Billboard 200.

As part of her team-up with Aperol, the beverage company will curate Aperol Spritz Day Club pre-show experiences at some of the venues Duff will play on tour, as well as local bars and restaurants nearby. The former child star says that her personal ideal setting for sipping on a spritz would be “in New York with a small group of friends, and we’re at a sidewalk cafe and people are just starting to flood the streets because everyone’s getting warm in their bones again … they’ve planted the flowers, everything’s blooming, you can feel the energy in the air.”

She also notes that the Luck … or Something track that most embodies “golden hour Aperol” is “Adult Size Medium,” on which she sings: “Was it a sip of wine or Aperol?/ I remember everything and nothing at all.”

“I think I’m most looking forward to seeing everyone show up for me,” Duff adds to Billboard of the Lucky Me Tour, which follows her run of mini-residency shows in Vegas. “When I think about this era, for me it took a lot of guts. I showed up for sure, but the only reason it’s working is because everyone’s showing up, and I don’t even exactly know why, but I’m really excited to see it and feel it and feel something that I’ve gotten a little taste of now. Obviously it’s in my body from before, but I’m such a different version of myself than I was back then, so it’s really magical to do this again.”

Maluma welcomed Billboard to his estate in Medellín, Colombia, where, amidst horseback rides, coffee breaks and stunning tropical vegetation, he spoke candidly not only about his new music, but also about his mental health, the second baby he’s expecting with his partner Susana Gómez and the upcoming presidential elections in his home country.

“My country hurts me,” Maluma said in an exclusive interview with Billboard’s Leila Cobo, reflecting on the violence that shook Colombia in the ’90s and looking ahead to the May 31 elections. “We have to vote! I’m not telling you who to vote for, but I even feel like renting a truck and driving people [to the voting centers] on election day.”

“It’s an important topic and something that really matters to me,” he explained. “I want [my daughter] Paris to not experience what perhaps your generation or several generations went through — those who left and didn’t want to return because of the country’s problems.”

Maluma, who released his new album Loco X Volver on May 15, also fondly remembered the late Colombian popular music singer Yeison Jiménez, with whom he got to record the track “Con el Corazón” for this album. Jiménez died tragically in a plane crash this past January at the age of 34.

“We spent months where we were very close. Talking about him is really tough. The song is beautiful and everything, but yeah, that guy is sorely missed,” said Maluma, unable to hold back tears. “Life goes by in a flash, you know? You think about that guy, and it feels unreal, it feels unreal.”

He also spoke about how his relationship with fame has changed — “Today I prefer to be at peace in my home,” he said — and about prioritizing his mental health after feeling overwhelmed at the end of his last tour. He admitted that if he hadn’t taken a break, “something bad” might have happened.

“Life isn’t just music,” he expressed. “Life isn’t just fans, autographs […] life isn’t TikTok or Instagram. And I lived 24/7, 365 in that mindset, and of course, when I stopped, my brain was like, ‘Oh man, they took away my dopamine, they took away everything.’”

“I disconnected for months,” he continued, adding that precisely “that detox from social media was also one of the main keys that showed me I needed to stop.”

Watch the full interview (in Spanish) above.

YG has spent plenty of time at gentlemen’s clubs around the globe, and he’s launching his own, in a way. The Compton native announced on Wednesday (May 27) that his seventh studio album will be titled The Gentlemen’s Club.

The “Who Do You Love?” rapper revealed that The Gentlemen’s Club is slated to arrive on June 19. He also posted the LP’s cover art, which finds YG delivering a menacing stare while rocking a suit coat jacket and a black glove, while pointing to his head with his fingers in the shape of a gun.

Fans seemed to be hyped that the 4-Hunnit CEO is returning to heat up the summertime. “Summer finna be lit,” one person wrote in his IG comments. Another added: “Oh yeah big summer happening!”

After spending a majority of his career at Def Jam, YG also signed a new deal, which will find him partnering with 10K Projects for The Gentlemen’s Club. The move marks his first major label deal in nearly five years, according to a press release.

YG has released pair of singles in 2026 already, including “TEACH YUH HOW TO LOVE ME” featuring frequent collaborator Ty Dolla $ign and “State of Emergency.”

The 36-year-old’s last project arrived in 2024 with his JUST RE’D UP 3 mixtape. The double-disc project featured Lil Yachty, G Herbo, Mozzy, Babyface Ray, Tee Grizzley, Ty Dolla $ign, Saweetie and Mustard.

As for his most recent studio album, YG released I Got Issues in 2022, which debuted at No. 18 on the Billboard 200.

Find YG’s cover art for The Gentlemen’s Club below.

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Every month, Billboard Latin and Billboard Español editors spotlight a group of rising artists whose music we love. Think “diamantes en bruto,” or “diamonds in the rough.” These are newcomers who have yet to impact the mainstream — but whose music excites us, and who we believe our readers should make a point to discover.

Our latest edition of On the Radar Latin includes a wave of emerging artists, who we discovered by scrolling on social media, networking, or coming across their music at a showcase, for example. See our May 2026 recommendations below.

Name: DIA

Country: Puerto Rico

Why They Should Be on Your Radar: DIA has quickly become a strong force in the música urbana space since his debut single in 2020, “ONEMVNARMY.” The artist born Alexis Díaz kicked off his six-year career as a songwriter and producer for artists such as J Balvin, Rauw Alejandro, and Yandel. Now, at the forefront with a progressive solo career, DIA’s signature trapsoul and reggaetón sound is backed by his sultry, smooth vocals as heard in “¿te ACUERDAS de mi?,” “SUSTANCiAS CONTROLADAS,” “Pidiendo Saoco,” and “LLamando de Nuevo,” to name a few.

The rising Puerto Rican artist — who’s a Latin Grammy nominee and a skilled piano player — became popular name in 2023 with his participation on “Merry Remix” with Jay Wheeler and Randy Nota Loca. In 2025 he dropped his debut studio album ¿QUE DICEN EiAS? (Casablanca Records/GLAD Empire), and he’s currently making the rounds with the ultra-perreo “Super Estrellá” in collaboration with Yomo, Alejo and Subelo NEO. — JESSICA ROIZ

Song for Your Playlist: “Llamando De Nuevo”

Name: El de la Tinta

Country: Mexico

Why They Should Be on Your Radar: El de la Tinta (real name: Ulises) is quickly becoming a sensation, thanks to the viral hit “Holanda” with Angel Cervantes and Sahir Montoya, and its catchy “ra-ta-ta” chorus. This song has ignited a creative wildfire, especially on Tiktok, where it boasts over 500,000 video creations — including Tito Double P and Manuel Medrano jumping on the trend. During the pandemic, Ulises picked up the guitar, but driven by his shyness, he first released his music anonymously online. As his confidence grew, his corridos tumbados struck a chord with a new generation. His songs weave together acoustic guitars, the rich resonance of the toloche, and soulful trumpets, creating a lush soundscape for his vocals — a gentle rasp that radiates warmth and sincerity. This unique mix of instruments and heartfelt vocals brings to life songs about heartbreak, like “Ojitos Marrones” and “Insomnio,” and celebrates love in tracks such as “Besitos” and “La Niña De Casa.” — INGRID FAJARDO

Song for your Playlist: “Holanda” feat. Angel Cervantes, Sahir Montoya

Name: Emjay

Country: Mexico

Why They Should Be on Your Radar: This singer-songwriter has emerged as one of the most intriguing new voices in Mexico’s latest generation of pop, thanks to her natural, raw, and uninhibited style—inspired by alternative rock aesthetics, or what she herself has dubbed “Heavy Pop.” Her introspective lyrics and explosive stage presence position her as one of the finest performers on the country’s current music scene; her appearance at the Tecate Emblema Festival earlier this month was a testament to this, as she stood out as one of the top acts.

Emjay (a name derived from her initials, María José) began her career in the trap and hyperpop genres, with projects such as LAS MORRAS TAMBIÉN HACEN TR444P. However, her latest EP, Confesiones De Las Que Me Voy A Arrepentir — released last March via Warner Music Mexico — marks a turning point in her career, featuring ’90s-style guitars and a rawer, more emotive energy. She recently served as the opening act for Doja Cat at the Palacio de los Deportes in Mexico City. Her “Pop Pesado 2026” tour across Mexico has already been announced, with several dates scheduled for the coming months. — NATALIA CANO

Song for your Playlist: “Bellaka”

Name: Los Dos De Tamaulipas

Country: Mexico

Why They Should be on Your Radar: So far in 2026, the Mexican duo has made a surprising and successful breakthrough in the Regional Mexican music scene. Their single “El Chavalón” reached No. 1 on the Regional Mexican Airplay chart and No. 2 on Latin Airplay; the same success followed with the tracks “Supercargada” and “Ayúdame,” both included on their album Expansión, released in April. This album paved the way for their first U.S. tour with more than 40 sold-out dates.

With their traditional norteño music and a distinctive performance style, brothers Rolando and Orlando Zapata have joined the ranks of Regional Mexican music — no longer merely as rising prospects, but as established fixtures. Artists such as El Fantasma and Luis R Conríquez have collaborated with and championed these singer-songwriters, who hail from Tamaulipas in northern Mexico. The duo was recently honored by ASCAP for the success of their compositions featured on the album Arriba La Compañía, released last year. — TERE AGUILERA

Song for your Playlist: “El Chavalon”

Name: Omar Camacho

Country: United States

Why They Should be on Your Radar: Born in San Diego, California, Omar Camacho is part of the urban music movement of Mexican-American singers who fuse their style with leading figures of the new Regional Mexican genre. His growing fanbase — totaling over 13 million monthly listeners on Spotify — positions him as one of the most promising rising artists under 21. His debut album, Nunca Voy A Morir (Warner Music México) — dropping this May 28th — serves as proof of his talent for navigating diverse sounds, featuring collaborations with Víctor Mendívil, Santa Fe Klan and Código FN, among others. Camacho is currently participating in the successful “Rico o Muerto” tour headlined by Óscar Maydon — a former Billboard Latin Artist on the Rise. — T.A.

Song for your Playlist: “Dos + Dos” (feat. Victor Mendivil)

Name: Quelle Rox

Country: United States

Why They Should Be on Your Radar: Puerto Rican-Cuban artist Quelle Rox is carving out a dreamy Spanglish lane that feels intimate, sensual and quietly magical. Based in New York, originally from Florida, she blends indie-soul, dream-pop and Latin warmth into songs that shimmer with soft-focus heartbreak. Her latest single “Mint Cherry Red (pa’ olvidarte amor)” is a strong example of that world: supple bass, hazy textures and breathy vocals that glide between English and Spanish with an ease that feels lived-in. There’s an early Kali Uchis quality to her aesthetic — ethereal, delicate and seductive — but Quelle’s perspective feels distinctly her own, rooted in bilingual confession and the kind of post-heartbreak glow-up that turns pain into style.

In the video for “Mint Cherry Red,” she leans all the way into that mood, cruising in a convertible, hitting the carnival and Coney Island in red tights, animal print and a beret, serving soft-girl glamour with a knowing edge. With songs like “Más Bonita” and “Apareces de la Nada” continuing to build traction, and a full Spanglish project on the way, Quelle Rox feels like an artist stepping into a more defined era — and one worth catching now. — ISABELA RAYGOZA

Song for your Playlist: “Mint Cherry Red (pa’ olvidarte amor)

If you wondered about Drake‘s ability post-2024 to still make the kind of history on the Billboard charts that he seemed to make routinely in the 15 years prior to that … well, wonder no longer.

On this week’s Billboard 200 (dated May 30), Drake debuts in the top three spots with his three simultaneously released new LPs — Iceman, Habibti and Maid of Honour, respectively — becoming the first artist to ever occupy Nos. 1-3 on the chart at the same time. Meanwhile, Iceman‘s “Janice STFU” opens at No. 1 on the Billboard Hot 100 — the highest of his 42 entries, and 40 debuts, also Hot 100 records — breaking Drake out of a tie with Michael Jackson for most career No. 1s on the chart by a solo male with his 14.

Which of these records do we deem to be the most historically significant? And does this mean that Drake is officially as big again as he was before the drama of two years ago? Billboard staffers discuss these questions and more below.

1. Drake sets all kinds of history on the Billboard charts this week — including most entries by any act in one week (42) and most No. 1 hits total (14) for a male solo artist on the Hot 100, and most simultaneous top spots (three) held on the Billboard 200. Which of the records he sets this week do you think is the most historically significant?  

Kyle Denis: I’d probably go with breaking the “most entries in one week” record; it’s a real testament to how intense his popularity is in the streaming era. Breaking Michael Jackson’s record for most Hot 100 No. 1 hits by a male soloist certainly sounds cool, but when you compare Drizzy’s No. 1s to the King of Pop’s, the difference in quality is so stark it’s laughable.  

Angel Diaz: The Billboard 200 record is the most impressive to me. It’s not every day that one of music’s top artists decides to drop three separate albums at once. That one is going to be hard to beat, unless someone like Taylor Swift or Beyoncé feels competitive enough to release four albums at the same time.  

Lyndsey Havens: Well, I’d argue that occupying the top three spots on the Billboard 200 holds the most weight, largely because it’s the kind of moment we’ll be able to point to as “when things changed.” Now that Drake has done it — regardless of why … — it becomes a conversation of who does it next? Who can do this? Who would and why? It created not only a new marker of success but a new conversation, too.

Michael Saponara: I’d have to go with having the most No. 1 hits of any male soloists. It’s the toughest to accomplish, in my opinion, and saw him pass a legend in the King of Pop, albeit very different eras of music. I may also be impacted by seeing Michael over the holiday weekend. But it also points to an enduring legacy and more than a decade at the hitmaking summit, which we haven’t seen from a rapper before. The avalanche of entries for a week feels a tad hollow, since when A-listers put numbers on the boards, most seem to fall off within a couple of weeks. Still, what a comeback for Drake. 

Andrew Unterberger: Something about securing the top three on the Billboard 200 feels momentous — maybe because, when compared to having 42 Hot 100 entries simultaneously, having the top three feels like something that could have actually been achieved in earlier chart decades, even though there were plenty of logical contextual reasons why it hasn’t been. It just shows you how few artists on Drake’s level would’ve even considered a comeback approach like this, and makes it all the more impressive that he actually pulled it off.

2. Iceman is by far the best-performing of Drake’s three new sets, launching with 463,000 equivalent album units in the U.S., according to Luminate (to 114,000 and 104,000 for Habibti and Maid of Honour, respectively), while also accounting for Drake’s 16 best-performing songs on the Hot 100 this week, including 12 of the overall top 13. Are you surprised that Iceman lands this far ahead of its sibling sets, or is it about what you expected? 

Kyle Denis: This is exactly what I expected. Not only was Iceman the only album title the public was aware of leading up to the triple album drop, but it was also the kind of album people have been asking Drake to make. I’m not surprised the album where he’s actually rapping — and addressing the past two years — blew Maid of Honour and Habibti out of the water. We just got 20 R&B songs from Drake last year. 

Angel Diaz: I’m not surprised because that was the album everyone was waiting on. I am surprised that the other two are as close as they are, though, because the online consensus is that Maid of Honour is the second best of the three; at least on my timeline anyway. 

Lyndsey Havens: It’s exactly what I expected, and shows the continued power of marketing and rollout — in 2026. Iceman got the full treatment, including social media-primed gimmicks like melting ice bricks to reveal release date and even a projection that made Toronto’s CN Tower appear to be covered in ice. It’s the album fans were expecting and awaiting — and given the rollout, could be argued as the most “intentional” set of the three. Plus, Iceman largely seems to be the album that fans listened to first — and as for whether or not that made them tune in for two more rounds? The numbers speak best to that.

Michael Saponara: Not at all. This has been the album people have been expecting and the one he’s done the legwork teasing for over a year. It’s also the mission statement, which finds him addressing more personal topics and responding to those in the industry who have crossed him since the Kendrick Lamar battle. I really enjoyed the album and believe it has the most quality depth of any project from him in a decade, and it’s Drake barring up with a rap-heavy project, which his core fans should embrace. 

Andrew Unterberger: I’m not surprised that it lands ahead, but the extent of it is pretty eye-opening to me. It shows you how successful Drake was with his Iceman-specific promo in the months (years?) leading up to the album that despite being released at the same time as two totally separate albums — at least one of which, Maid of Honour, was arguably much more accessible — it was so clearly the set that his fans immediately zeroed in on.

3. “Janice STFU” is the best-performing song across the three sets in its first week. Do you see it growing and enduring as the breakout hit from this Drake mega-era, or do you think other songs on the albums will ultimately pass it?  

Kyle Denis: I think “Janice STFU” will endure as the true breakout hit, but I wouldn’t be too shocked to see “Shabang” and “Ran to Atlanta” follow suit. If anything sticks around from the other two albums, I’m betting on “Hoe Phase” (from Maid of Honour) and either “Classic” or “Fortworth” (from Habibti). 

Angel Diaz: I think it being a spin on a Lykke Li track helps open it up to a different audience, and it’s also very catchy. I’ve often found myself singing “beep, beep, baby” randomly and folks are using it in their Instagram Reels and TikToks. I’m curious to see how long it lasts on top of the Hot 100.  

Lyndsey Havens: I think other songs certainly could pass it. And this is a bit of a copout answer, but I think the challenge of releasing three albums at once (around 2.5 hours of listening) is that the breakout hit could still be hiding somewhere. While it’s a quicker process, sometimes, for an artist and their team to intentionally nudge just one song to the front, in this case there’s still a bit of a race going on. Drake dropped 18 new music videos last week, four of which surpassed 10 million views (“Janice STFU” leads with 13 million as of now — but “Whisper My Name” isn’t far behind). All of this is to say, I wouldn’t count any song out just yet.

Michael Saponara: I’ve been trying to find the one song that would jump out and “Janice STFU” seems to be what fans have gravitated towards. I’m not surprised as I’ve found myself singing along to the addicting chorus, which interpolates Lykke Li’s “I Follow Rivers.” I think it’s going to stick around for a while. We’ll see what catches on at radio as I’ve heard “Shabang” and “Ran to Atlanta” while driving around this past week. 

Andrew Unterberger: Yeah, “Janice” feels like the song. It’s fun, it’s meme-y, it’s not as catchy as “Nokia” but it’s much less of a drag than “Slime You Out” or “Way 2 Sexy.” It’s one of those songs that isn’t necessarily an undeniable smash, but once it burrows its way into the culture, it stays there.

4. A week and a half in, which of the three sets do you remain most interested in? 

Kyle Denis: Iceman, without a question. But I’m also learning I’m much fonder of Maid of Honour than the average listener. 

Angel Diaz: Rap Twitter won’t stop talking about Iceman, but for me I think I’m leaning towards Maid of Honour, especially as the weather gets warmer. That’s when we’ll really see if any of these three projects have any legs. In the meantime, I’ve made a playlist combing the best from Maid and the best from Habibti to make a nice-sounding album. 

Lyndsey Havens: I’ve been loving the social media chatter over how to describe each album. I’m more into pop girlie Drake, and I think Maid of Honour delivers that side of him most, certainly through the more uptempo and bouncy production at least. 

Michael Saponara: Iceman, for sure, for a lot of the reasons I listed in my answer to question No. 2. It’s his most rap-heavy project since IYRTITL and there’s plenty of depth to the album, which is a problem I’ve had with Drake albums in the past being too top-heavy and reliant on a few hits. If I may make the comparison, Iceman has been the main course at dinner, while I’ve mixed in Habibti and Maid of Honour as a side of mashed potatoes and a palette cleanser for dessert. 

Andrew Unterberger: Honestly, Habibti might be the one I end up returning to the most. The album-closing run on that, where Drake actually seems to shed his bravado and sound legitimately lost and insecure and actually kinda frightened — that’s the only Drake across these three albums that I don’t think I’ve ever heard before. Not surprising that that’s not where the hits are coming from, but I’m intrigued by it.

5. After a couple rough years for the rapper, does the historic chart performance of these sets in their opening frame establish to you that Drake is 100% back to his pre-2024 hitmaking status, or do you still need to see more from him before granting him that? 

Kyle Denis: Even at the height of the 2024 battle, I never once doubted Drake’s ability to maintain (or regain) his commercial footing. He operates at a level maybe two other pop stars do; that was never going to be undone by five or six songs. With that being said, I can’t judge much from the first week. It’s not exactly a shocker that three pseudo-surprise Drake albums flooded the charts. What’s more interesting to me is whether these songs stick around near the top of the Hot 100; Drake hasn’t had a song spend more than a single week at No. 1 since 2018. Can “Janice” end that streak? With all of this music and a relatively quiet hip-hop scene, can Drake replicate Scorpion’s three multi-week No. 1 singles? That’s what I’m keeping an eye out for.

Angel Diaz: I’m not ready to definitively answer that yet. He got some things off his chest on Iceman and provided some hits on those three projects, but there still isn’t a monster record on any of them. At least by Drake standards. Hopefully, he lets these projects breathe, though, and comes back undistracted. I think that’s when he’ll truly get back on track. 

Lyndsey Havens: ……. I think it establishes that pre-2024 Drake was a special period in time.

This historic chart performance proves fans will always be ready and waiting for more Drake (apparently, three full albums worth), and in no world was he going to flop during debut week. But I’m curious to see what the next few months look like for Drake and where these albums fall within his longterm legacy.  

Michael Saponara: To me, this marks more of the start of another peak in a new era for Drake. I’d compare it more to LeBron James in his Los Angeles Lakers era in a later stage of his career as the 6 God approaches 40. It’s not quite the same commercial heights and dominance as the mid-2010s (think Miami Heat or Cleveland Cavaliers LeBron), but it’s still Hall of Fame worthy.

Andrew Unterberger: Not 100%, but close enough. We’ll have to see what kind of numbers he puts up when the rubbernecking curiosity of what he still might have to say about 2024 isn’t around anymore. But then again, will that ever go away? Will we ever not be super-curious what Drake has to say about the s–t going on in his life — and then what everyone else is gonna say about what he says? Maybe not.