French independent music giant Believe has teamed with former 300 exec Az Cohen for a new joint venture, called AZTEC, that will mark Believe’s first U.S.-based record label, the company announced Thursday (May 7). Cohen, the son of industry legend and current YouTube global head of music Lyor Cohen, will spearhead the new venture as its president and founder.

Significantly, AZTEC marks Believe’s first frontline foray into the United States, after spending the past 20 years building a local-music empire in more than 50 territories around the globe. It also solidifies the company’s intentions in the world’s biggest music market, following last week’s announcement of a new label and artist solutions division in the U.S., headed by Thomas Maxwell. Together, the new initiatives — Maxwell overseeing label distribution and services, and Cohen overseeing the new frontline label — as well as TuneCore, the DIY distributor that Believe acquired in 2015, encompass a full stack of services in the U.S. for Believe.

“Our joint venture with AZTEC reflects Believe’s continued commitment to building artist-first partnerships and supporting entrepreneurs who deeply understand the creative and cultural landscape,” Believe’s global head of music, Romain Vivien, said in a statement. “Az brings an exceptional ability to spot talent and build sustainable careers, and together we are creating an ecosystem designed for the next generation of artists.”

Cohen has spent 13 years at 300, the company his father co-founded in 2013 as an indie record label alongside Kevin Liles, Todd Moscowitz and Roger Gold. He served in various A&R capacities as the company — which shepherded the careers of Migos, Megan Thee Stallion, Young Thug, Fetty Wap and more — grew and was ultimately acquired by the Warner Music Group in 2021 for $400 million. During his time at 300, Cohen also launched Sparta, 300’s indie distribution wing, which has racked up more than 8 billion streams across its catalog, according to a press release.

With AZTEC, Cohen hopes to build out lasting careers for the artists he signs, eschewing the quick-hit nature of parts of the business in the social media era. “In an industry that’s become increasingly about quick wins and short-term virality, we are artists, engineers, planners and warriors with a singular focus: building empires with our artists and partners,” Cohen said in a statement. “AZTEC is about patience, commitment and shaping careers that stand the test of time.”

Cohen, who also managed Post Malone early in his career, will be based in New York, with initial signings to be announced in the coming weeks and months. He’ll leverage his own network of sources and contacts, as well as TuneCore’s distribution base and Believe’s global footprint, to help develop those acts. “The success of artists today often starts with hyper-local stories, and it is our job to champion those around the world,” Cohen added. “Believe’s unique position as a truly global company with massive local expertise, via boots on the ground, allows AZTEC artists to be certain that their stories will be shared with new fans, no matter where that fan lives.”

Olivia Rodrigo is giving fans a few more chances to see her on tour. After announcing 65 stops on her upcoming Unraveled Tour last week, the “Drop Dead” singer has expanded the outing due to demand, with five more shows in London, two more in Amsterdam and Barcelona and a second Paris show. In addition, five additional gigs in Los Angeles are set for next January and five more in Brooklyn in February.

The tour in support of the singer’s upcoming third studio album, You Seem Pretty Sad for a Girl So in Love (June 12) is slated to kick off on Sept. 25 with the first of two gigs at PeoplesBank Arena in Hartford, Conn. Support on select dates on the tour will come from Wolf Alice, The Last Dinner Party, Devon Again, Die Spitz and Grace Ives, with the outing now slated to wrap up with a May 6, 2027 show at Palau Sant Jordi in Barcelona, Spain.

Among the new 2027 shows on the roster are five in Los Angeles on Jan. 20, 21, 24, 25 and 28 five in Brooklyn on Feb. 19, 20, 23, 24 and 27, five additional dates at the O2 in London on April 12, 14, 15, 19 and 20 along with two more in Amsterdam on March 27 and 28, another pair in Barcelona on May 5 and 6 and a second Paris show on April 24. Another 2026 date, an Oct. 18 stop at TD Garden in Boston, Mass. has also been added.

Check out all the dates for Olivia Rodrigo’s 2026-2027 Unraveled tour below (new shows in bold).

Justin Bieber is many things. A pop icon, a heartthrob, a hitmaker. A “yes man” he is not.

The Kid LAROI recently sat for a chat with Carter Gregory for The Set List, on which he recounted working with Justin Bieber on the mega-hit “Stay.” Were it not for Bieber convincing LAROI he was sitting on a piece of platinum, “Stay” might not have reached our ears.

“That song came about because he sent me the song for his album and I was kind of like alright I gotta send him back one now from mine,” LAROI explains. “I don’t know, there was a part of me at that point in my career I think I was very in my head about like, ‘oh is this too pop of a song? Is this gonna be weird if I put this out?’ I think I was overanalyzing things, I remember asking him ‘do you want to put this on your project or something?’”

Biebs laid it out. “He was like ‘bro, are you out of your mind? You have to release this, you keep this for you,’” says LAROI. “He literally was like ‘Bro this is a smash, you gotta put this out.’”

That was some good advice. Following its release in 2021, the collaboration went to No. 1 on the Billboard Hot 100 (and stayed there for seven weeks), won ARIA and APRA Awards, and is one of the top 10 most-streamed songs in Spotify history, chalking up more than 3.9 billion plays on the platform (it’s currently at No. 10 on the all-time leaderboard).

Bieber is always there with good advice, even if that is to rip LAROI’s work. “He’s always dropping some really good stuff. I think though, the most helpful and useful thing is something that you wouldn’t think of, maybe off rip, but something I think he does so well is that he just listens really well. He’s really good at just being like ‘man, I’m sorry. That sucks, let’s talk about it,’” LAROI remarks. “He always has great advice but just talking about something and being acknowledged like ‘damn that sucks’ you know, that’s a thing in itself that sometimes.”

He continues, “I find it helpful when he shares his experiences with me. He just cares too which is cool, he’s never approaching it from like ‘I know everything’ which is really cool. He’s very honest about things and if he doesn’t know something he will always be like ‘I don’t know, but I’m here for you.’”

Canada and Australia have a special relationship, a human connection we see flow through with Bieber and LAROI, who also teamed up on “Unstable,” a track housed on Biebs’ sixth studio album, Justice from 2021.

LAROI (real name: Charlton Howard) is currently working his way across the United States on his A Perfect World tour, in support of his third full-length project, Before I Forget, which debuted at No. 6 on the Billboard 200 earlier this year.

Bryan Adams makes his second trip to YouTube Music’s Billion Views Club, this time with “(Everything I Do) I Do It For You.”

The Canadian singer-songwriter passes the billion views milestone with performance video for “I Do It For You,” the 1991 ballad that soundtracked Kevin Costner’s Robin Hood: Prince of Thieves.

“I Do It For You” was an unstoppable hit following its release, much like the film it was connected to. It’s one of Adams’ four titles to hit No. 1 on the Billboard Hot 100, where it stayed for seven weeks — by some margin the longest reign by Adams on the national singles survey.

Across the Atlantic, “I Do It For You” enjoyed a fairytale run on the Official U.K. Singles Chart, which included an historic 16-week reign, all of it consecutive. No other song in OCC history has enjoyed a longer stretch at No. 1.

The song led-off Adams’s Waking Up the Neighbours, which topped the Official U.K. Albums Chart, the ARIA Chart, and peaked at No. 6 on the Billboard 200. 

The action-adventure film from which “I Do It For You” was synced was a box office success, coming in at No. 2 among the year’s highest-grossing films with $390 million, behind the sci-fi masterpiece Terminator 2: Judgment Day with $520 million, and comprehensively trounced, at the box office at least, the critically-acclaimed, Patrick Bergin-starring Robin Hood, also released in 1991.

Adams first entered YouTube’s Billion Views Club with another ballad, 1993’s “Please Forgive Me.”

“(Everything I Do) I Do It For You” was written by Adams, Robert “Mutt” Lange and Michael Kamen. Its official black and white video was filmed in Miami, Florida 1992, directed by Andy Morahan, and can be seen in full below.

Brandi Carlile is the newest inductee into the Austin City Limits Hall of Fame.

The 11-time Grammy Award-winning singer-songwriter, producer and performer will be elevated during the ACL Hall of Fame induction and taping on July 1, with Bonnie Raitt on hand to induct Carlile. Raitt, who was inducted in 2016, will also perform a tribute on the night.

“Being inducted into the ACL Hall of Fame by one of my absolute heroes — Bonnie Raitt — means everything to me,” comments Carlile in a statement. “I’m so grateful to have had such a deep and powerful connection to the city of Austin and Austin City Limits all these years — and I cannot wait to hit the Moody stage in July to celebrate this immense honor.”

Adds Raitt: “I’m thrilled to induct my friend Brandi into the ACL Hall of Fame. She is truly one of our most respected and impactful artists. I admire her not only for her incredible music, but for standing up for the causes and artists she’s passionate about, all while balancing her wonderful family life. I can’t wait to get to perform together for this show that has meant so much to us both.”

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The 12th Annual ACL Hall of Fame will be presented at ACL’s studio home, ACL Live at The Moody Theater in Austin, Texas.  Highlights, including performances and speeches, will be packaged for an hour-long broadcast during Season 52 of Austin City Limits, premiering this September on PBS, and available to stream online and via the PBS App.

Established in 2014, the ACL Hall of Fame recognizes artists who’ve played a defining role in the series’ half-century legacy. Honorees have included Willie Nelson, Stevie Ray Vaughan, Lucinda Williams, Roy Orbison, Lyle Lovett, John Prine, and last year’s inductee Garth Brooks.

Carlile has “deep roots at ACL” and is a frequent presence at the ACL Hall of Fame, reads a statement announcing her special night. Also, Carlile handed induction honors for Sheryl Crow in 2022 and has delivered three standout appearances: in 2010 (Season 36), 2018 (Season 44) and 2022 (Season 48).

Across a two-decade-plus career, Carlile has landed 10 titles on the Billboard 200 chart, including five top 10s.  At the back end of 2025, Carlile broke the record for most No. 1’s by a woman on Billboard’s Top Rock & Alternative Albums chart, as her latest album Returning to Myself debuts atop the Nov. 8-dated tally. Earlier this year, Carlile performed “America the Beautiful” during Super Bowl LX at Levi’s Stadium, and presented the Innovator Award to Laufey at Billboard Women In Music 2026.

“When Brandi Carlile first stepped onto the ACL stage more than 15 years ago, it was immediately clear she possessed a rare and singular talent,” says ACL executive producer Terry Lickona. “The moment you hear her voice, you know exactly who it is. She will always have a home here at ACL, and now she takes her well-deserved place in the ACL Hall of Fame. Having Bonnie Raitt there to welcome her into the fold makes the occasion all the more special.”

Austin City Limits and the ACL Hall of Fame are produced by Austin PBS.

On Josh Groban’s new album Cinematic (out May 8), the chart-topping singer-actor pays tribute to movie music, covering silver screen classics like “As Time Goes By,” “Moon River” and “Can You Feel the Love Tonight.”

Cinematic marks Groban’s first album of new material since his Tony Award-nominated turn starring in the 2023 revival of Sweeney Todd. And that show loomed large in the early stages of making Cinematic. He says, “having just come off of the grandest score of all time with Sweeney Todd, and really putting on my big boy voice for that… I wanted to keep riding that wave… I wanted to stay in that grand zone.” At the same time, he and his team were also brainstorming ideas for what a new album could be like, thematically, and “this word cinematic kept coming up,” he tells the Billboard Pop Shop Podcast (listen to his full interview, below).

The “grand zone” and “cinematic” ideas combined into what Groban calls “MGM-escapism” on the album. Essentially, a collection of movie songs that he could perform and take the listener on a journey. It’s “that feeling of, you know, the lights are out, and the world out there is going to take a pause for a couple hours… that’s the vibe we wanted. We wanted to lean into that escapism.”

And while the set is comprised entirely of covers, Groban notes, “This album feels personal for an album that… was such a broad idea. It whittled down to a very specific and very emotionally personal album.”

On the project, Groban is joined by Jennifer Hudson (who duets on “Unchained Melody”), his dad Jack Groban (who plays trumpet on “Moon River”) and the Gay Men’s Chorus of Los Angeles (on “Can You Feel the Love Tonight”). Cinematic was produced by two-time Grammy Award-winner Greg Wells. And, in keeping with the “grand” theme, was recorded largely with an orchestra, and in multiple studios across Los Angeles, New York and London.

Groban says Hudson is “so multi-talented, and such an epic vocalist.” Their first team-up came in 2024 when they sang “O Holy Night” together on the CBS-TV special Josh Groban & Friends Go Home for the Holidays. He says he immediately knew there was something special in that collaboration. “We looked at each other, we went, ‘wow’.” So, when it came time to discuss Groban’s upcoming tour, he had a “bucket list of one person” that was his dream person to come out on the road — Hudson. The stars aligned and the two were able to not only join forces for a tour (which kicks off June 2 in Montreal) but also their “Unchained Melody” duet on Cinematic.

Regarding his father, Groban says “I owe so much of my introduction of the arts to his musicality.” While his dad is not a professional trumpet player, there is “one album that he made playing trumpet back when he was in his 20s,” Groban says, and “there’s a one of one copy that we finally digitized.”

Though Groban’s father had essentially put his trumpet away for the past 40 years, and had never recorded in the studio with his son, Josh knew the timing was right for them to come together on Cinematic.

“Watching my dad fly in that studio… was just, you know, something I will remember for the rest of my life. To have… a proper recording of his playing with me, I’ll never forget it.”

Here are excerpts from the Pop Shop’s interview with Groban, below, and listen to the full interview, above.

On how the Cinematic album is an “emotionally personal album”:

I didn’t want to just do, you know, the Josh Sings… here’s just a nice bunch of nice sounding songs. I want to be able to talk about these songs in a way that has meaning, even if it’s a song that’s been around forever. We wanted to have a really great why with them. So, from the collaborations we chose, from the meanings of the songs, when we really dove into those lyrics anew, it felt personal. This album feels personal for an album that… was such a broad idea. It whittled down to a very specific and very emotionally personal album.

On how his collaboration with the Gay Men’s Chorus of Los Angeles on “Can You Feel the Love Tonight” from The Lion King came together:

The Gay Men’s Chorus of Los Angeles was my idea, and the song itself was also my idea… I’m such a fan of Elton (John, the song’s co-writer and original performer) and such a fan of that of that movie. Again, you talk about the intimidation factor of, like, just tackling a song that everybody knows so well, and you want to honor it.

But I always say that when you honor a song that you love, you want to both honor what made it special to begin with, and you also want to bring something to it in the today that you feel resonates, and you want to honor it by yes-anding what the original did.

And as we were diving into just reading the lyric, and we’re reading the lyric and reading the news, reading the lyric and doom scrolling, and reading the lyric, and going in our car and driving…

The Pop Shop interjects: “it’s like, can you feel the love?”

Exactly. And so the next day, I got into the studio with Greg [Wells], and I was like, you know, I feel like there’s a call to action, to allyship, to support… sometimes in music, you have to sing it before you believe it, you know. And that’s the power of music.

Sometimes, as an artist, it’s very therapeutic to say, well, I want to sing the song I’d like the world to be. Even if that’s not the reality. And I felt more than ever that a song like that, a question like that, and an open hand like that, was important. And of course, you can talk about that just with, you know, as a song, I could have just talked about that, but the collaboration aspect and how you’re able to possibly accentuate that with the collaboration is always something that’s really important to me.

Now, I have always been a fan of the Gay Men’s Chorus. I sang with them in [Washington] D.C. during [President Barack] Obama’s inauguration. I love what they stand for. I love the sound of their voices. And being a native Angelino, I felt like the message of the song, what we were trying to put across, and then having them in the room to sing that song with me felt like A) a great message, and B) vocally like something that would be really powerful to hear. So, it was a really fun day at the studio. They were amazing.

Josh talks about how his dad, Jack Groban, joins him on Cinematic to play trumpet on “Moon River.” Had Jack ever recorded with Josh professionally before?

Never. He has one album that he made playing trumpet back when he was in his 20s, like 22-23 [years old] in college… There’s a one of one copy that we finally digitized, so if anything were to happen to it, you know, we have proof.

I did a song called “Old Devil Moon” on my Stages album, and I did it with Chris Botti on trumpet, and Chris wasn’t available to play with me at the Dolby — we did a concert at the Dolby Theatre [in 2015] — and so I asked my dad then, if he would come out and play the solo. And he crushed it. Again, he hasn’t played in 30 years. At that point it was, it was 30 years. Now it’s been 40 years. He puts the trumpet away. His mom said to him when he was young, you know, that’s not really the best way to make a living. Go into business. You know, he came from a conservative family. And he did, and he’s brilliant at what he does. He’s going to be 80 this summer.

By the way, I had the crème de la crème. I had Terence Blanchard and Wynton Marsalis saying to me, ‘send me in coach,’ for this song. Favorite song of theirs. And they both were telling me, ‘should you need me, we’re here if you want.’

And I’m talking to Greg, and I’m going, ‘oh it’s gonna be incredible, here’s what the trumpet could be.’ … And I’m talking to my dad about “Moon River.” And I went, God, you know, this is my 10th major album. You know, my dad is one of the most important people to me in my life, and his musicality is such a part of why I’m musical. His ear is why I have an ear. He’d sit at the piano and play when I was a kid growing up. I owe so much of my introduction of the arts to his musicality. I thought, I’m actually, you know, that my favorite trumpet player in the world is actually right in front of me.

…And we set up at Sunset Sound, in the room that Louis Armstrong used to record in, his favorite room in L.A., with his stool. And surprised my dad. We had Louis’ stool there waiting for him, and a microphone from like, the ‘30s. And, you know, it was just one of those days where watching my dad fly in that studio and play along with this Vince Mendoza arrangement was just, you know, something that I will remember for the rest of my life. To have, after all of my influence with him, a proper recording of his playing with me. I’ll never forget it.

On how Jennifer Hudson became part of the album, and their upcoming tour:

We were kind of mutual admiration society for a while. We had met at a bunch of things, and just, I just worshiped Jennifer Hudson. I think she’s so multi-talented, and such an epic vocalist. So, you know, I’ve always had my bucket list of like, ‘I’d love to sing this with Jen at some point.’ That was able to happen when I hosted this [Josh Groban & Friends Go] Home for the Holidays Christmas special on CBS a couple years ago, and we sang “O Holy Night” together.

And you know, it was one of those songs where there was a lot of bigness in the vocals, a lot of intimacy in the vocals, and it’s the kind of song where it could be interpreted different ways. So I was able to kind of do it in a little bit more classical fashion, and she was able to do it in her, of course, amazing interpretation. And then leading to us both singing that “Noel” big note at the end.

And my favorite thing about duets is when you have two people from two different universes vocally, but when they blend on a song that’s powerful, you’re doing something in the sonic-sphere that neither of you could do by yourself. We both felt it when we held on to that “Noel” [note]. We looked at each other, we went, ‘Wow.’

… We hugged each other off stage and we went, ‘again, please… more of more of that, please.’ We both got chills. We both loved just, you know, bouncing off each other, the dance of our vocals together, just felt natural. Didn’t feel like a stretch. And so, when we were coming up with the tour, I had my kind of like bucket list of one person who would be my dream person to come out and join me, and we’re on the same agency. [So it was a matter of] … reaching out and seeing [if she was available]. And it just so happened, we caught her between breaks of her talk show (The Jennifer Hudson Show), and said yes.

And so that was the first thing, which was, just like, ‘we’re going to have so much fun this summer, we’re going to find some things to sing together this summer.’

And then in that finding, you know, “Unchained Melody” was one of her favorite songs of all time, one of mine as well. And hadn’t really heard many of any duets of that song. And so we decided to give it a go. Which was on paper (is) kind of scary, because it’s, it’s not written as a duet, and finding the right key for both of our voices, finding harmony opportunities. We really wanted to nail it, and so we spent our time with that. But yes, it all started with that “Noel” leading to the big note in, you know, “Unchained Melody,” and it’s a big one.

In addition to the Pop Shop’s interview with Groban, hosts Katie and Keith chat about Noah Kahan’s The Great Divide debuting at No. 1 on the Billboard 200 and Ella Langley’s “Choosin’ Texas” returning to the top of the Billboard Hot 100.

The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s managing director, charts and data operations, Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)

Two billion people have taken a trip to a gangsta’s paradise.

The music video for Coolio‘s classic 1995 hit “Gangsta’s Paradise” reached 2 billion views on YouTube. The visual was helmed by film director Antoine Fuqua, who is recently back in the public eye for his work on Michael, the new Michael Jackson biopic. It is the first video by the late rapper to reach this milestone.

“Gangsta’s Paradise” comes from the 1995 thriller film Dangerous Minds and features vocals by the singer L.V. The track served as the lead single of Coolio’s second studio album of the same name. “Gangsta’s Paradise” is Coolio’s biggest chart hit, spending three weeks atop the Billboard Hot 100 in 1995. Gangsta’s Paradise the album was also successful, spending 62 weeks on the Billboard 200 and peaking at No. 9 on the chart.

“Gangsta’s Paradise” topped the Hot 100 Year-End chart in 1995. In 1996, the song earned Coolio his first and only Grammy, for best rap solo performance, as well as two MTV Video Music Awards and a Billboard Music Award. In 2023, Billboard ranked “Gangsta’s Paradise” as one of the 500 best pop songs of all time.

“Gangsta’s Paradise” was given new life in 1996 after “Weird Al” Yankovic dropped the parody “Amish Paradise” which has millions of streams on YouTube and Spotify. Other stars who have covered the legendary rap song — the original, not the parody — include Maneskin, Brittany Snow and Falling in Reverse.

Watch the “Gangsta’s Paradise” music video below.

After a previous pair of runner-up results, Kehlani achieves their first No. 1 on Billboard’s Top R&B/Hip-Hop Albums chart with their self-titled album, released April 24 on Tsunami Mob/Atlantic Records. Kehlani begins with 69,000 equivalent album units earned in the United States for tracking week of April 24-30, according to Luminate.

Of Kehlani’s first-week total, streaming activity contributed 45,000 units, from 45.37 million official on-demand streams of the album’s songs. Another 24,000 units derived from traditional album sale purchases, with a negligible amount of activity from the third and final metric, track-equivalent sales. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 1,000 paid/subscription tier or 2,500 ad-supported tier of official on-demand audio and video streams for a song on the album.)

Before the new leader, Kehlani, who received the Impact honor at Billboard’s 2026 Women In Music celebration on April 29, managed a career high of No. 2 on two occasions: SexySweetSavage debuted and peaked the runner-up rank in February 2017, as did It Was Good Until It Wasn’t in May 2020. The new album extends their perfect streak of seven consecutive top 10-charting releases on Top R&B/Hip-Hop Albums.

Elsewhere, Kehlani opens at No. 1 on Top R&B Albums as their fourth chart-topper and starts at No. 4 on the all-genre Billboard 200.

Kehlani’s triumph mirrors the breakthrough achievements of its big single, “Folded.” Among other feats, the song became their first top 10 on the Billboard Hot 100, peaking at No. 6 in January, and first No. 1 on Hot R&B/Hip-Hop Songs, where it reigned for five weeks. The track is also approaching the No. 1 record on Mainstream R&B/Hip-Hop Airplay – at 15 weeks in charge, it’s one shy of the mark held by Future’s 2022 hit “Wait for U,” featuring Drake and Tems.

The album’s impact is best seen on the Hot R&B Songs chart, where “Folded” heads 12 titles on the 25-position ranking. With 10 making their first entry, Kehlani ascends to 60 career appearances on the 13-year old chart.

Here’s a review of Kehlani cuts on this week’s list:

No. 2, “Folded” (prev. five weeks at No. 1)
No. 11, “Shoulda Never,” feat. Usher
No. 14, “Anotha Lova,” feat. Lil Wayne
No. 15, “I Need You,” feat. Brandy
No. 17, “Oooh”
No. 18, “Out the Window” (prev. peaked at No. 7)
No. 20, “No Such Thing,” feat. Clipse
No. 21, “Pocket,” feat. Cardi B
No. 23, “Sweet Nuthins,” feat. Leon Thomas
No. 24, “Lights On,” feat. Big Sean
No. 25, “Still”

Drake season is upon us. The OVO boss announced plans for yet another Iceman livestream on Wednesday (May 4), with episode four set for May 14.

“EPISODE FOUR MAY 14,” Drake wrote on Instagram alongside a photo of the number four and an ICE MAN graphic.

The 6 God also posted photo collages from what appears to be the first three episodes of livestreams, which date back to July 4, 2025.

There wasn’t a time revealed for May 14’s stream, but it should lead into Iceman‘s arrival on May 15. OVO fans hopped into Drizzy’s comments and were extremely hyped at the idea of a Drake album being released within the next 10 days.

“Reminder!: May 15 is International Stay on That Side Day,” one person wrote. It’s fitting that Drake’s announcement for episode four came just shy of May 6 at 6 p.m. ET.

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Drake’s shown intentionality with the extended Iceman rollout dating back to 2025, which has been turned up quite a few notches in recent weeks.

Drizzy put the rollout and marketing into another gear when a massive ice block structure was built in downtown Toronto. Streamer Kishka ended up finding the Iceman folder inside the thawing installation, which revealed the album’s May 15 release date and scored him $50,000 from Drake’s team for the discovery.

Drake released singles like “What Did I Miss,” “Which One” and “Dog House” in 2025, but has yet to drop a single in 2026, and it appears there won’t be any new music until Iceman‘s arrival.

Iceman will serve as Drake’s first solo LP since his blockbuster battle with Kendrick Lamar in 2024 and 2023’s For all the Dogs, which topped the Billboard 200.