Suno launched V6, its latest batch of AI music models on Wednesday (Sept. 9) — its first “in partnership with the music industry,” as the company says. Suno, which was recently valued at $5.4 billion, also announced that in the future it will be launching products to provide AI-enabled remixing, sampling and other derivative features for music from participating partners. The news comes just hours after Suno inked its latest music partnership with French giant Believe.

Alongside Warner Music Group and BMG, Suno’s two other music industry allies, Believe’s participating music will train the V6 models, along with what’s called “user inputs.” On a special bonus episode of Billboard On the Record, Mikey Shulman, CEO and co-founder of Suno, explains the training process and how user input plays into it.

“When users make a song, they will implicitly tell us whether it is good or bad — or more accurately, [Suno] will give users two songs and they will implicitly tell us one of those is better than the other,” Shulman says. “We are able to take that signal and learn from it what makes a song particularly catchy, particularly good and use that information about these differences between songs to steer our models toward making music better.”

Jack Dolby, chief product officer at Suno, clarifies that while Suno’s music industry partners will receive a revenue share for their contributions to Suno, it’s not in exchange for training. “We consider this [the] partnership launching, and that’s why the payment starts,” Dolby says. “But it’s not because of the training data or the way that we built the model itself. It’s actually everything else the part the partnership enables in the future… I think the wrong way to think about these deals is that these deals are about making our models better. It’s not really about the data.”

According to Suno, there are three products within this new roll out — V6, V6 Wild and V6 Mini — all of which are said to be the fastest and highest audio quality of any of their models to date. Suno will also retire its previous models, and as of Sept. 3, the company has significantly limited downloads of its music — all of which were first promised in Suno’s partnership with WMG in late 2025.

A blog post about V6 details some of the new features available, including editing part of an existing song using plain language, building a mashup from multiple sources in one request, generating music from text, audio, images and video and more.

Despite Suno’s growing number of deals with music companies like BMG, WMG and Believe, Suno is being sued by a number of players in the music industry. This includes Universal Music Group (UMG) and Sony Music’s lawsuit against the company, filed in 2024, accusing the AI company of copyright infringement; a recent class action lawsuit led by country star Jason Isbell which claimed that Suno designed its AI music generator to evoke artists’ identifying characteristics; a Mexican label, Gerencia 360 Music, which claimed that Suno’s AI models were trained on unlicensed regional Mexican hits; and a copyright infringement suit from Round Hill Music, accusing Suno of infringing on tens of thousands of songs.

To watch Shulman’s exclusive podcast interview with Billboard On the Record, check out the YouTube video below or click here for more viewing and listening options. An edited and condensed excerpt of the conversation can also be found below.

Tell me about v6 Wild — that seems to be a brand-new product line for Suno.

It is. It’s the first time we’re actually releasing something like this. Let me take a step back. I won’t just give you the answer of ‘it’s for everybody,’ even though it is… I think V6 Wild will make some of the most interesting stuff that you will ever hear, but when compared to V6 — if you’re just comparing the songs apples to apples — V6 Wild is going to take more liberties, and that is going to ultimately mean it doesn’t always give you the thing that you were looking for. So, if there’s a thing that you are looking for, V6 Wild may not be the right thing for you. However, if you are looking for peak creativity, the most interesting sounds, even if it’s not going to be the quote-unquote “perfect” thing, then V6 Wild is the model that you want to use.

Given you’re saying this is in partnership with the music industry, is there compensation flowing to Warner, BMG [and Believe], the [three] partners that you guys have announced?

It’s a little bit hard to get into the specifics here, but this is — and will be — a really important new line of business for all of our partners going forward. It will get easier as time goes on, especially as the products themselves get more and more defined, to actually say exactly how these new lines of business will develop.

Got it. I spoke with your chief product officer before this call just to kind of get a lay of the land of V6, and he was mentioning that this is a revenue share with your partners. Is that correct?

That’s right.

So, it’s a revenue share from the V6 models that rolled out today and then down the line, you have these [products] that you’re building toward, which will involve artist works that you can remix, make samples of — all that stuff. I imagine there’s also going to be another revenue stream that appears from that, right? How does that work?

It’s a little too early to say, but I would stress here that there’s going to be a lot of differentiation on the product side going forward. There’s not just going to be one product. There will be a whole bunch of different products, a whole suite of products. They will be different platform to platform. They may be different partner to partner. And so, maybe unfortunately, that means that some of these business models are going to get more complicated in the short term. But actually, the really exciting thing is that as that happens, the differentiation, the depth with which we can pull our users into music more, ultimately, the engagement and excitement and enjoyment that our users get from the platform gets much, much larger. And so, I don’t think anybody has all the answers today of exactly what these models, these business models, will look like. We have I would say good ideas and good guesses, and I’m mostly excited to develop the products with our partners. That has to be the thing that actually informs what the business models look like.

When you start working toward these models, where there are certain songs that you can remix and sample and that kind of thing, do artists get the opportunity to decide whether or not they want their songs to be on Suno, available for users to remix?

Ultimately, some stuff will be different rights holder to rights holder, partner to partner. But we are never going to have songs on platform for users to remix, interact with, otherwise adapt without rights holder consent.

Okay, but sometimes the rights holders means —

Sorry, meaning without the artist’s consent, the creative’s consent.

I was looking back at the press releases that were put out when you guys started these partnerships with BMG and with Warner. I noticed in it that it’s never referred to in either case as a licensing deal. I think that’s how the music industry sees these deals. Instead, with the Warner press release, it refers to it as a partnership. And then in the BMG one it’s a “global alliance that establishes a strategic framework. I’m wondering: are these licensing deals or not? And if so, is this licensing for using their works for training?

I don’t want to speak to how other people may perceive the deal. I’ll tell you how I think of these partnerships, which is what I said before. It’s really geared toward long-term development of things that could not have existed without these two parties coming together. And so, whether that is products that are user facing, whether that are products that are ultimately artist or creative facing and I think this is something I think you and I have discussed previously on this podcast.

In my opinion, there aren’t enough really long term partnerships like this in the music industry, where we’re trying to think about what could the music business look like in 10 years. What is something that we think might actually take five or 10 years to even develop, and why don’t we try to go and be audacious to do that? And there, you need a lot of long term alignment and truly to feel like a partner instead of to feel like a counterparty.

Okay, but is licensing a component of this partnership?

We will be licensing works in order to do the products that we’re building later on, whether that is remixing or sampling or otherwise modifying a piece of content.

I know the music industry is very concerned about how models are trained. That’s been a focus for a lot of companies recently, and has resulted in some litigation. How were the V6 models trained?

 Good question. At a very high level, we have our partner data. We also have all of the interactions that are —

Partner data? What does that mean?

For the initial release, it is Warner, [BMG and Believe]. We have all of the interactions that our users give us from the platform. And so I think we’ve discussed this on this on this podcast before. But just to remind the listeners, there’s a lot of usage on platform. There’s a lot of songs made every day. You’ve even reported on some of that. When users make a song, they will implicitly tell us whether it is good or bad or more accurately, will give users two songs and they will implicitly tell us one of those is better than the other. And we are able to take that signal and learn from it what makes a song particularly catchy, particularly good and use that information about these differences between songs to steer our models toward making music better or worse — hopefully better.

Got it. So you have data from Warner, and then you have user inputs — whether they like songs or not, how they’re prompting, that sort of thing. Is there more music beyond that is unlicensed that is used in training V6 models?

All of the data that we have from our partners is licensed. All of the user interactions then go in on top of that, and so that is, in our opinion, what makes for a licensed model.

Okay, so data from partners is licensed. But there are some people who you are not partnered with and their data might be training these models too…

There is there’s no unlicensed partner data.

So, are there no Universal songs or Kobalt songs or something that are training the V6 models?

Correct. No Universal songs. No Kobalt songs. No Sony songs, etc.

Billie Eilish will be surrounded by an all-star cast when she makes her feature film acting debut in director Sarah Polley’s anticipated adaptation of Sylvia Plath’s 1963 novel The Bell Jar. According to Variety, two-time Oscar winner Eilish will play the main character Esther Greenwood in the big screen version of Plath’s semi-autobiographical book about an aspiring writer juggling a magazine summer internship in New York as she struggles with anxiety and societal expectations on women of the 1950s.

The only novel written by Plath, who died by suicide a month after the book was released in the U.K., was first adapted for the screen in 1979, with several stalled attempts to reboot it for the cinema over the past two decades as vehicles for Julia Stiles and Dakota Fanning. Variety reported that production has wrapped on the movie that Polley (Women Talking) directed from her own screenplay.

In addition to Eilish, the cast will reportedly feature Oscar nominee Carey Mulligan playing Esther’s mother, Mrs. Greenwood, as well as Danielle Deadwyler (P-Valley) playing Esther’s psychiatrist, Dr. Nolan, The Studio‘s Ike Barinholtz as wealthy N.Y. radio host Lenny, Heated Rivalry star Connor Storrie as blind date from hell Marco and Dylan Hawco (Youngblood) as Esther’s first boyfriend, Buddy Willard.

The cast for the Focus Features film will also include Lily Taylor (To the Bone) as Jay Cee, the editor of Ladies’ Day magazine, where Esther is hired as an intern, Ella Beatty (If I Had Legs I’d Kick You) as old friend Joan and Maggie Kuntz (The Gilded Age) as Doreen, a fellow intern and Esther’s best friend in N.Y.

Though the adaptation marks Eilish’s first movie role, she has dabbled in acting before. In 2023 she made her acting debut in an episode of Donald Glover and Janine Nabers’ Amazon Prime limited series Swarm. She also has two Oscars on the shelf already, both for Best Original Song, first in 2022 for the James Bond theme song “No Time to Die” and again in 2024 for the Barbie movie ballad “What Was I Made For?”

No release date has been announced for the film yet.

Mike D is good to go solo. The Beastie Boys co-founder does just that on Thank You (via Capitol Records), his long-awaited debut solo LP which arrived last month — almost 40 years after his legendary hip-hop trio dropped their groundbreaking first album, Licensed to Ill.

On Tuesday night (Sept. 8), the New York native stopped by NBC’s The Tonight Show Starring Jimmy Fallon for a chat about how his Mike D 5D album came to light, and for a brisk stroll down memory lane.

In the last few years, Mike (real name: Michael Diamond) caught the music bug once again by watching his sons in the studio, Skyler and Davis. “Watching them work, I was like ‘what am I doing here,’” he tells Fallon. “I really wanted to start making music and gradually we just got some amazing stuff…much like I did with Adam (“Ad-Rock” Horovitz) and Adam (“MCA” Yauch) we’d just pick up vintage synthesizers, weird old equipment that I don’t know how to use. And I start using it. I know it sounds like a very bad idea.”

There’s no school like the old school.  

Mike also recounted how he and his Beastie Boys bandmates met the late Dolly Parton at her birthday party some time ago in Los Angeles, and name-checked the impressive collection of music legends who came to wish her a happy one. Burt Bacharach was on the piano, Dionne Warwick was there, too. Bob Dylan was just hanging out, apparently happy to chat with the rapper, despite Mike’s unfortunate choice to wear a garish green outfit.

As guests left, Dolly was at the door saying goodbye to each and everyone one. “She wasn’t like get the F out,” he quips. “She was like, so nice to meet you. Thank-you for coming. The consummate professional. Very classy.”

Mike paid tribute to Dolly, who passed Aug. 25, at the age of 80. “The one and only, RIP, one of the greatest songwriters of all time, without a doubt,” he tells the host. “Beautiful person, beautiful humanitarian.” Watch below.

Mike D 5D stuck around the NBC studios to perform a medley of songs from Thank You – “Make It Stop” and “That’s Right.”

It’s his first major release since the Beasties put out their final group album, Hot Sauce Committee Part Two, in 2011. The following year, his bandmate Adam “MCA” Yauch died at the age of 47, following a years-long battle with cancer. The new 13-track effort features the singles “Make It Stop,” “Switch Up,” “What We Got,” “True Colors,” and “Crypto.”

Watch Mike D 5D’s late-night performance below.

Life on the road can be a slog. A grind. Countless bands have come unglued thanks to the rigorous of touring, that seemingly unending cycle of late nights, strange towns, faceless hotels.

Angus & Julia Stone had an altogether different experience with their Living Room Sessions, an intimate global tour that launched in 2024 in support of their sixth studio album, Cape Forestier.

The experience was so touching, so energizing, the sibling act used the trek as the creative springboard for their new album, Karaoke Bar (via Virgin Music).

“A lot of it was written while we were touring the Living Room Sessions and Angus and I were just really happy, loving making music together,” Julia Stone tells Billboard. “The shows felt so special… all these incredible old theaters around the world, an amazing band, and we were really enjoying telling stories and singing songs from across the 20 years we’ve been making music together.”

Along the way, the Stones played Royal Albert Hall in London, Paris’ L’Olympia, New York City’s Town Hall, and the Sydney Opera House. Each evening, a career highlight.

“Every night there was this real sense of joy, and then between legs of the tour we’d duck into studios and write and record,” Stone continues. “I can hear that in this album… a kind of happiness, an underlying sense of peace in the music.”

The new collection, which is out now, was written and recorded across Greece, France and Australia, the brother-and-sister duo’s homeland. And shaped by their experiences. Karaoke Bar captures a sense of both the granular and the grand, and that happiness is never far from the surface. It’s right there in focus track “The Start,” and the opening number, the title track, which rips a line from one of the happiest tracks of them all, “Sweet Caroline.”

“There’s always experiences and moments that make new music special,” notes Julia. “The special sauce is really a mix of the places we recorded, and also the way we were feeling while making this record.”

Recording in the old Carpet Factory studio on the Greek island of Hydra “was pure magic. It felt like stepping back in time. Men in suits smoking ciggies in the kitchen below the live room, smoke drifting up through the floorboards… we loved it. Such a vibe,” she recounts. Also, the facility was nearby to where the Stones’ idol Leonard Cohen wrote so much of his music.

One night, Angus’ son Adam came to hang out in the studio. “We ended up sitting around the kitchen table listening to songs and talking about music and life for hours. Sharing stories, sharing music,” says Julia. “Those kinds of moments stay with you.”

Miraval Studios at the Château de Miraval in the south of France was “equally inspiring,” recalls Angus. “The studio there is incredible, and the whole property just makes you want to create. We honestly could have settled into the cottage there and written the whole record, but we only had this window between the Europe and North American tours.”

The album’s second track, “Monroe,” came to life during that time. “We’ll definitely go back.”

The bulk of the LP’s 10 tracks were created on the duo’s portable recording gear, which they lugged on tour, including the final cut, “Mexico City,” which was inspired by their first ever show there in July 2024. Angus’s Sugarcane Mountain Studios, in the Northern Rivers region of New South Wales, was where the final touches where made to the album, completed when they finished their touring commitments in Australia and New Zealand. 

In a recording career spanning two decades, Angus & Julia Stone have amassed multi-platinum sales, No. 1s and numerous awards in their homeland and enjoyed an international breakthrough with the 2009 song “Big Jet Plane,” from their domestic chart-topping sophomore album Down The Way. The track went on to snag five ARIA Awards, including single of the year; won triple J’s annual Hottest 100 poll, and claimed the APRA Music Award for song of the year.

Rick Rubin produced the group’s third, self-titled studio album, from 2014, which went to No. 1 in Australia, for their second leader, and cracked the Billboard 200, peaking at No. 54. At the time, the uber-producer described the artists as “truly unique musicians. They are authentic and pure people who do things from the heart. I’ve never worked with anyone like them before.” All five of their previous studio albums have cracked the ARIA Top 10.

It’s a good thing Angus & Julia Stone draw joy and inspiration from the road. They’re about to set off once again. North American tour dates get underway this Friday, Sept. 11 at FONO Festival, followed by a three night stand at Masonic Lodge at Hollywood Forever, in Los Angeles, and dates in Ottawa, Brooklyn and New York. Australasian tour dates for February and March 2027 were announced earlier this week by Frontier Touring.

“It’s all looking pretty busy,” Julia remarks. “The calendar is full of color.”

“It’s an exciting time for us,” Angus adds. “Most of our catalogue now lives in the one home and we get to be in control of a lot of our music which is great. And we are so proud of this record and so excited to play it.” 

Angus & Julia Stone 2026 North American Tour Dates:

Sept. 11 — FONO Festival, Quebec City, QC
Sept. 14 — Masonic Lodge at Hollywood Forever, Los Angeles, CA
Sept. 15 — Masonic Lodge at Hollywood Forever, Los Angeles, CA
Sept. 16 — Masonic Lodge at Hollywood Forever, Los Angeles, CA
Sept. 19 — CityFolk Festival, Ottawa, ON
Sept. 22 — Music Hall of Williamsburg, Brooklyn, NY
Sept. 23 — Racket, New York, NY

2027 Australia Tour Dates:

Feb. 13 — Adelaide Entertainment Centre Theatre, SA
Feb. 20 — The Fortitude Music Hall, Brisbane, QLD
Feb. 25 — Forum Melbourne, VIC
Feb. 26 — Forum Melbourne, VIC
Feb. 28 — Sydney Opera House Forecourt, NSW
March 5 — Kings Park and Botanic Garden, Perth, WA