Lance Bass has detailed just how little he says he earned during *NSYNC’s rise, claiming he was paid a per diem of $35 a day while the group was one of the biggest acts in the world.

Speaking on The Zach Sang Show, the 47-year-old singer said the money didn’t match the band’s success. “We had a per diem: $35 a day,” Bass said. “Our first check was a $10,000 check after years of No. 1 albums, sellout tours. I don’t know how many millions I made off of merchandise, because merchandise was insane.” He recalled being told to be grateful for the $10,000: “You should be grateful for that. You’ve been working for free for two, three years now.”

Bass — who rose to fame alongside Justin Timberlake, JC Chasez, Chris Kirkpatrick and Joey Fatone — pushed back on the perception that the group made him wealthy. “People think I’m so filthy rich from *NSYNC, but no,” he said. “Not at all. I didn’t make money with *NSYNC, like, hardly at all.” He said he still receives residuals, but “it’s not much,” and that he earned far more after the band went on hiatus in 2002.

He alleged that the bulk of the money went elsewhere, claiming “the label” and the group’s late manager, Lou Pearlman, “made a f–k ton.” Pearlman, the impresario behind *NSYNC and the Backstreet Boys, was convicted in 2008 of money laundering, conspiracy and bankruptcy fraud in connection with a long-running Ponzi scheme; he died in prison in 2016.

Asked whether he still carried resentment, Bass said “not anymore,” though he maintained he had been shortchanged. “No one set us up for life after that,” he said.

The claims stand in stark contrast to *NSYNC’s commercial record. The group remains one of the best-selling acts in Billboard history: their 2000 album No Strings Attached sold a then-record 2.4 million copies in its first week — a mark that stood for 15 years — and spent eight weeks at No. 1 on the Billboard 200. Its lead single “Bye Bye Bye” became a signature hit, and the follow-up “It’s Gonna Be Me” gave the group its only Billboard Hot 100 No. 1 that summer. Their 2001 album Celebrity also debuted at No. 1, while the No Strings Attached tour grossed more than $70 million. *NSYNC reunited briefly for a new single, “Better Place,” in 2023.

It isn’t the first time Bass has spoken about the band’s finances. “We were famous, but we were not rich,” he said during a 2023 appearance on SiriusXM’s The Jess Cagle Show.

On Friday night (Oct. 9), the 57th annual GMA Dove Awards aired on TBN and TBN+, as those in the Christian and Gospel music community gathered to honor some of the year’s top artists, songs, albums and more. Hosted for the fourth consecutive year by singer-songwriter Tauren Wells, the event was held on Oct. 6 at Nashville’s Bridgestone Arena. 

Among the top winners were Phil Wickham, Josiah Queen and Brandon Lake, with three wins each, while Tasha Cobbs Leonard took home two honors.

Wickham was named artist of the year, while his album Song of the Saints was named worship album of the year and he won children’s recorded song of the year for his work on “Follow The Light.”

“God has given us reason after reason to worship him,” Wickham said in accepting the worship album of the year honor, adding, “To be able to write songs with amazing people and to think that people sing them to Jesus blows my mind. That I get to write a song to Jesus and I have the honor of filling the mouths of believers with these songs…I don’t take one moment for granted. He is so worthy.”

Queen earned accolades in categories including song of the year and pop/contemporary recorded song of the year (both for “Dusty Bibles”) and recorded music packaging of the year (for his album Mt. Zion).

Taking the stage to accept the song of the year honor for “Dusty Bibles,” Queen thanked his co-writers on the song, John Michael Howell, Zac Lawson, and Dylan Thomas.

“We wrote this song two Dove Awards ago, so it’s an honor to be here,” Queen said. “I grew up following the Dove Awards because I looked up to so many of you writers and musicians. In saying that and getting this, it’s a huge honor. The greatest honor I can have as a human is to serve Jesus.” He added that faith helped him through hard times, saying, “It was opening up my Bible and spending time with Him that he completely changed my life.”

Lake earned accolades including songwriter of the year (artist), pop/contemporary album of the year (King of Hearts), and country/roots recorded song of the year, for “The Jesus I Know Now,” with Lainey Wilson.

Taking the stage to accept the win for “The Jesus I Know Now,” Wilson said, “There’s a line in the song that says, ‘He says who I am and it ain’t what I do.’ I want to remind all the creators, we are not just singers. We’re not just songwriters, we are connectors.” Lake added, “I’m so thankful for you Lainey, and [co-writers] Emily [Weisband] and Luke [Laird] that we wrote the song with….I’m thankful that we get to share this together.” Earlier in the evening, Wilson and Lake had performed “The Jesus I Know Now.”

Cobbs Leonard won the contemporary Gospel album of the year for her project Tasha, as well as traditional Gospel recorded song of the year for “Church” (which she also performed during the show). “God took me on a journey over the past year and a half…I’ve seen sides of Him that I’ve never seen before,” Cobbs Leonard said of working on the project, which was produced by Kenneth Leonard Jr. “The goodness of God and who He is is absolutely amazing,” Cobbs Leonard said.

Jamie MacDonald, known for hits including “Left It In The River,” won new artist of the year. 

“I spent two decades waiting tables and trying to write songs,” MacDonald said. “I was trying to heal after years of addiction and shame. I got ahold of a CeCe Winans record and it changed everything and I began singing the truth over myself….thank you for helping me to find my life’s purpose…thank you Jesus.”

Several artists offered powerful performances during the evening. Amy Grant and Natalie Grant joined forces to honor the late singer-songwriter Dolly Parton.

“What a rare artist…she felt like she belonged to all of us,” Amy Grant said from the stage. “Her music crossed generations and genres and boundaries of all kinds, and faith was woven into who she was, how she lived, and the music she made.” A video clip showed an older performance of Parton singing “How Great Thou Art,” as Natalie Grant and Amy Grant then joined in singing the song together from the Bridgestone stage, which was awash in pink lighting. They ended by joining to sing Parton’s “I Will Always Love You” as videos of Parton’s past performances filled the screens.

Grant also told Billboard in a statement, “I have thought about Dolly and the impact she had on all of us so much since her passing. Being asked to speak about her and then joining Natalie for a performance was an honor in and of itself. From the beginning, Dolly’s one request of [country singer] Porter [Wagoner] was that she be allowed to include a hymn or a Gospel song in each of their shows. Her roots in faith shaped who she was and how she lived. I appreciated getting to sing with Natalie Grant. Her voice captures the colors of the stratosphere, mine of the earth. Singing together, following Dolly, on the arrangement Natalie and Bernie [Herms] put together was magical. I was so happy to be a part of it.”

Also during the evening, Anne Wilson performed “Who I Am,” while Gospel roots ensemble Chosen Road offered up “A God Thing.” Hope Darst performed “Mighty Name of Jesus,” while rapper Hulvey brought choreography-filled performance of “Rich Like This” and “Dave.” Wells also took the stage for “This Is What a Miracle Feels Like” with Naomi Raine. Later in the evening, Tye Tribbett further elevated the evening’s energy with “I Want It All Back.”

Sarai Rivera’s “Tu Voz” was named Spanish Language Recorded song of the year. Rivera said she wrote the song at a time when “I needed His voice to be louder than the fears, than the lies…today I’m a living testimony that His voice keeps echoing louder and louder.”

The show spilled over into the nearby Ryman Auditorium, where Elevation Worship performed “So Be It.” 

Influential Gospel music songwriter, artist and musician Richard Smallwood was honored with a performance from Jonathan McReynolds, Kierra Sheard, Donald Lawrence, Maurette Brown Clark & Ted Winn, who sang songs including “The Center of My Joy, and “I Love The Lord.”

The inaugural GMA community impact award for peace and purpose to God Behind Bars, an organization that focuses on bringing a faith-based message to those in prison.

Having been newly crowned with the new artist of the year honor, MacDonald closed out the evening with the joyous and soulful “Left It In The River.”

See a list of winners in key categories at the 57th annual GMA Dove Awards below:

Artist of the year: Phil Wickham

Pop/contemporary recorded song of the year: “Dusty Bibles,” Josiah Queen

Pop/contemporary album of the year: King of Hearts, Brandon Lake

Bluegrass recorded song of the year: “Broken Angels,” The Grascals and Dolly Parton

Gospel worship recorded song of the year: “More Than This” Cece Winans feat. Todd Dulaney

Worship recorded song of the year: “God I’m Just Grateful,” Elevation Worship and Chandler Moore

Worship album of the year: Song of the Saints, Phil Wickham

Contemporary Gospel recorded song of the year: “Still (Live)” Jonathan McReynolds and Jamal Roberts

Contemporary Gospel album of the year: Tasha, Tasha Cobbs Leonard

New artist of the year: Jamie MacDonald

Song of the year: “Dusty Bibles,” Josiah Queen

Spanish Language Recorded Song of the Year: “Tu Voz,” Sarai Rivera

Rock/contemporary recorded song of the year: “No Survivors,” Jeremy Camp feat. Skillet

Rap/Hip-Hop album of the year: Could Be Tonight, Hulvey

Feature film of the year: David

Television series of the year: The Chosen

ADÉLA had a few things to get off of her chest in Los Angeles — and she did so with a little ballet, fiery hair choreography, some spicy dancing and a song that might have put her in some hot water with the local crowd.

The Slovak pop singer brought her Red Bottoms Tour to the Fonda Theatre on Thursday night (Oct. 8) for the first of two Los Angeles dates, delivering a 16-song set that highlighted why she’s quickly becoming one of pop music’s most compelling emerging names. The demand for ADÉLA in Los Angeles continues tonight (Oct. 9), when she returns to the Fonda Theatre for a second sold-out show.

With her signature bright pink hair, a hot pink ballet rail and pink and red lighting setting the tone, ADÉLA leaned into the vigorous performance style that has helped distinguish her since her days on The Debut: Dream Academy, the competition series that introduced her to a wider audience.

The sold-out show comes just weeks after the release of her debut album, PRIMA, which debuted at No. 4 on the Billboard 200. Two of its singles have also made their way onto the Billboard Hot 100: “Ain’t in LA,” which peaked at No. 27, and “Nicole Kidman,” which recently climbed to No. 11. At the Fonda, she brought those chart successes to life alongside other songs in the setlist that moved between the brash confidence of “KGB,” “Boys” and “NastyDirtyGross” and the more provocative pop of “Starving Artist,” “SexOnTheBeat” and “Superscar.”

A trained ballerina, ADÉLA has the flawless movement and performance instincts to make choreography feel very central to her artistry instead of just an accessory to it. Her fashion choices are just as much a part of the package, with a wardrobe of sparkling, barely-there separates and statement boots complementing her signature bright pink hair. The look also fits the visual identity of her collaboration with 5 Gum, which brought its Stimulating Style Collection to select stops on the Red Bottoms Tour.

A hot pink rail served as a focal point for her ballet segment and other choreographed moments, recalling the setup from her opening dates for Demi Lovato. The production itself was relatively stripped back, relying largely on the rail and a palette of pink and red lighting rather than some elaborate staging or visuals. That simplicity kept the spotlight on ADÉLA herself without any other distractions: her dancing, vocals and ability to carry a show surrounding her creativity, music and artistry.

And while the PRIMA material gave the night its backbone, ADÉLA also made room for a surprise. She typically performs an unreleased track called “Kiss Here” on tour, but for her Los Angeles audience, she opted for “Homewrecked” instead — a song she said she hadn’t been performing on the trek — as an apology for a certain lyric in her catalog.

The reason was clear when she introduced “Ain’t in LA” earlier in the set, the song whose title and main sentiment could’ve made for a pretty awkward moment in a city she now calls home.

“I have to say … the next song that I’m gonna sing is a little bit awkward,” she told the crowd, asking them to “please don’t boo” as she explained the inspiration behind a song that declares the “baddest bitches ain’t in LA.”

ADÉLA went on to share that she moved to Los Angeles from Slovakia a couple of years ago to participate in Dream Academy. Even though her journey on the show didn’t unfold the way she had hoped, she pointed toward the balcony, where her former castmates Megan Skiendiel and Lara Raj of KATSEYE and Emily Kelavos of Saint Satine were watching.

As ADÉLA pursued her dream of becoming a pop star, ADÉLA said she had grown fatigued by the way the industry seemed to celebrate the same people over and over again. That feeling, as she explained, inspired “Ain’t in LA” — a song that she framed not as a rejection of the city, but as an acknowledgment of the people whose contributions can go unrecognized.

“I’m an immigrant,” she said. “And you know what? LA wouldn’t be LA without who? The immigrants.”

Funny enough, ADÉLA recently spoke to Billboard about how she never doubted her success would happen. At the Fonda, that conviction feels less like an abstract promise than a very tangible reality.

Before closing the show with “Nicole Kidman,” ADÉLA took another moment to address the audience, this time sharing what she was manifesting for her future. Among her wishes was to make “Nicole Kidman” No. 1 on Spotify in the U.S. “forever,” to continue to perform for “so many years,” and — in a final nod to the evening’s earlier tension — hoping Los Angeles wouldn’t stay mad at her over “Ain’t in LA.”

The show very much felt like a victory lap for a debut album that has already found a sizable audience. Looking out into the crowd, you’d see hot pink outfits and tutu skirts scattered throughout, with newer fans and older fans cheering ADÉLA on. Alongside the artist, everyone seemed to be celebrating her breakthrough while she articulated the ambition, insecurity, and personal experiences that got her here in the first place. Her former Dream Academy castmates watching from the balcony offered a reminder of where her story began, but the sold-out room was a testament to the career she is building now.

And this was only her second headlining show in Los Angeles since playing The Roxy last year, so it already feels like a huge milestone. If the trajectory if PRIMA is any indication, it is unlikely that this will be her last time headlining in Los Angeles.

Gunna is now his own record label boss. The Atlanta rapper officially launched his SB The Label imprint in partnership with Atlantic Records on Friday (Oct. 9).

SB The Label’s roster includes emerging artists such as Casper Bluff, Dracc and Nechie, who teamed up with Gunna for “I Can’t Feel My Face” in 2025.

“SB The Label represents the beginning of a new chapter for me,” Gunna said in a statement. “It only felt right to start that chapter alongside my brothers Casper Bluff, Nechie, and Dracc, who are the first artists signed to the label. For me, this is about stepping into a new role, expanding what I can create, and building something that represents where I’m headed next.”

Atlantic Music Group CEO Elliot Grainge added: “It’s impossible to overstate Gunna’s influence on this generation of hip-hop and music as a whole. We’re grateful and honored that he’s chosen AMG as his partner to bring this endeavor to music fans.”

Gunna’s 2025 album, The Last Wun, was released via Young Thug’s YSL imprint and 300 Entertainment. It’s unclear if that will still be the case going forward. The “Drip Too Hard” rapper gave a vague answer regarding his label situation in a September interview with Forbes.

“I wouldn’t say apparently free. We in the works,” Gunna said. “There’s been a lot of talks of what’s being produced and who’s going to be behind me supporting it.”

In the same interview, Gunna unveiled plans for the title of his next album, Splurge. “I want to introduce that, which is Splurge,” he said without mentioning a release date. “This upper-echelon artist who’s gravitated to another level.”

The 33-year-old appeared to kick off the rollout of Splurge with “Pop It” on Friday (Oct. 9). Gunna released a lavish visual to accompany the single, which stars American tennis phenom Coco Gauff.

Gunna somehow returns one of Gauff’s blistering serves into the net to kick off the clip, which impresses the 22-year-old tennis star. But this isn’t your average tennis court, with a chandelier somehow hanging from above and instead of grass or clay, there’s a damask carpet design laid between the lines.

The scene switches to a beautiful cliffside mansion overlooking the ocean. Gunna pulls up to the opulent party in style, taking a chopper in with his love interest. He raps alongside a fleet of exotic sports cars and explores the estate.

When they head back to the tennis court to continue the Spike Jordan-helmed visual, Gunna accidentally smashes a volley from Gauff through a glass of wine held by a butler, which shatters into pieces.

Gunna’s most recent album, The Last Wun, debuted at No. 3 on the Billboard 200 in August 2025 with 80,000 total album-equivalent units earned, marking his seventh top 10 project.

Watch the “Pop It” video below.

Summer Walker and Interscope Records are in a legal dispute over the status of her record deal.

Walker, who signed a joint deal with the Universal Music Group (UMG) subsidiary and label/management company LVRN in 2017, sent a notice of termination to Interscope in August. Interscope responded on Friday (Oct. 9) by submitting a lawsuit, obtained and first reported by Billboard, alleging that if Walker does indeed break their deal, she’d owe $50 million for not yet delivering all her promised albums.

The singer-songwriter is invoking California’s “seven-year statute,” a 1944 state law that allows an individual to exit a personal services contract after that amount of time. The statute was amended in 1987 to allow record labels to sue artists for damages if they leave after seven years but before fulfilling all their album commitments.

Under that law, labels only have 45 days to bring such lawsuits in response to contract termination notices. Interscope’s Friday complaint, brought at the tail-end of that period, alleges Walker has only delivered three projects from her contract’s five-album commitment: her 2019 debut Over It, which hit No. 2 on the Billboard 200, the 2021 chart-topper Still Over It and another No. 2 set, Finally Over It, in 2025.

A spokesperson for Interscope told Billboard in a statement Friday, “While we remain hopeful that our ongoing discussions will lead to an amicable resolution, the statutory deadline makes it necessary to file suit in order to preserve the terms of our contract. We have great respect for Summer and her music and would welcome the opportunity to continue our successful partnership.”

Walker’s reps did not immediately return a request for comment on the matter.

Labels have in the past used these types of damages lawsuits to respond when artists seek to terminate their record deals under the seven-year statute. Warner Bros. Records did so amid a dispute with heavy metal band Avenged Sevenfold in 2016, as did MCA with R&B groups New Edition and Bell Biv DeVoe back in the 1990s.

There have been numerous unsuccessful efforts in the California legislature to repeal the 1987 amendment that allows labels to bring such lawsuits, with artist advocates arguing that the possibility of hefty damages unfairly dissuades artists from invoking the seven-year statute to get out of their record deals. The record industry maintains that this provision protects labels’ contractual rights and stabilizes dealmaking.

Brandy is set to headline Flytime’s House of R&B concert in Lagos, Nigeria. The anticipated show will be one of the main events taking over Detty December on Dec. 20.

Taking place at the Eko Convention Centre, the House of R&B concert is slated to kick off a series of performances, which will be followed by Coca-Cola Rhythm Unplugged (Dec. 21), Flytime Fest Powered by Coca-Cola (Dec. 22-24) and Flytime Circle on Dec. 25.

“Brandy is one of the most influential voices in R&B, and bringing her to the Flytime stage is incredibly special,” said Cecil Hammond, who serves as the founder and chief executive officer of Flytime, in a statement. “We’ve watched Lagos grow into a global destination for music and entertainment over the past two decades, and we’re proud to have played a part in that journey. Brandy represents everything Flytime’s House of R&B celebrates, and she is the perfect artist to open our December season.”

Flytime chief operating officer Keke Hammond added: “Every year, we challenge ourselves to raise the standard of live entertainment in Lagos. This December brings six nights, each with its own identity and experience. Opening with an artist of Brandy’s caliber sets the tone for the performances and hospitality our guests can expect all season.”

Ahead of Flytime’s House of R&B, Brandy has three shows lined up in South Africa. She’ll head to Cape Town for a concert on Dec. 14 before trekking to Pretoria for concerts on Dec. 17 and Dec. 18.

2026 has been a busy year for The Vocal Bible. Brandy notched collabs with Ty Dolla $ign, Kehlani and Josh Levi, and was honored with a star on the Hollywood Walk of Fame. The Grammy-winning singer also released her New York Times bestselling memoir PHASES.

Find Flytime’s House of R&B concert flyer below.

Only a few hours before showtime, Ella Langley has canceled her concert at Tulsa, Oklahoma’s BOK Center on Friday night (Oct. 9) because of “a serious security threat,” according to a statement on the country singer’s Instagram page.

“Due to a serious security threat involving the safety of my fans, venue personnel, and the artist, Ella Langley’s scheduled performance tonight at BOK Center in Tulsa has been canceled,” reads the post that appeared shortly before 5 p.m. CT on both Langley’s and the venue’s socials.

“The safety and well-being of everyone involved is our absolute priority, and, after careful consideration, we have determined that the show cannot proceed. We understand the disappointment this news brings and apologize to fans who planned to attend. The safety of our fans is our foremost concern and will always come first,” the message continues. Ticket refund information will be forthcoming.

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However, the Tulsa Police Department say that Langley’s team canceled the show, not the police department or the venue, saying the police department had swept the area and found no credible threat.

“A sold-out concert was canceled tonight over threats of violence,” reads a statement on the Tulsa Police Department’s Facebook page. “As with any large event, the Tulsa Police Department goes to great lengths to ensure that it is safe for eventgoers and those coming to perform. Before the event, we swept the area with our K-9, Bomb Team, Patrol, and BOK security for anything dangerous. We did not find anything. [Then] A call was made threatening the lives of people attending the event. Out of an abundance of caution, we swept the building and surrounding area and again found no credible threat to the event’s safety. We advised the performer’s staff that we found no credible threat to the event, but they decided to cancel the performance anyway.”

In a Facebook video from the Tulsa PD relaying the same information, Captain Richard Meulenberg goes into further detail saying that after the initial sweep, the call that came in said that someone was going to bring “great harm to the people at this event in the way of shots fired and bombs, so we came out again in an overabundance of caution…the person who called us in with a phone call disrupted this event for all these folks.”

Langley is in the middle of her Dandelion Tour, named after her new album that features “Choosin’ Texas,” which has broken the record for the most weeks at No. 1 on the Billboard Hot 100 at 24.

In addition to the official post, Langley added, “I know how much time, travel, money, and planning goes into coming to a show, and I can’t tell you how sorry I am. This is not a decision that was made lightly. I was so looking forward to spending tonight with you, but your safety will always mean more to me than anything else. I refuse to put anyone in harm’s way.”

A receptionist at the arena told Billboard, “We’re not able to give a comment to the media at this time.” Billboard has reached out to a marketing representative for Oakview Group, which operates the venue, for further comment, but has not heard back. A rep for Langley had no additional comment beyond Langley’s post.

Langley’s tour continues Saturday night in Lubbock, Texas, at United Supermarkets Arena, before coming to Los Angeles for two shows at the Greek Theater, Oct. 13-14.

ADÉLA was in prima condition as she conquered the Fonda Theatre in Los Angeles on Thursday night (Oct. 8), delivering yet another magnetic performance while some of her former Dream Academy co-stars looked on proudly — and Billboard has all of the best photos from the night.

In exclusive snaps by Christopher Polk, the Slovak star looks absolutely fierce in her signature bright pink hair and a silver two-piece while carrying out the first of two nights in L.A. on her Red Bottoms Tour, which kicked off in August. A trained ballerina and dancer, ADÉLA is known for packing her shows with impressively high levels of choreography, the motion of which you can see in some of the dynamic snaps.

Billboard also hung out with ADÉLA backstage, where KATSEYE’s Megan Skiendiel and Lara Raj and Saint Satine’s Emily Kelavos — all Dream Academy veterans — posed together for a glam shot. Clips captured by fans at the concert show the trio looking misty-eyed as they watch their friend living her dream in real time.

The show comes amid a whirlwind breakout year for ADÉLA, whose debut album PRIMA dropped in September and debuted at No. 4 on the Billboard 200. Two of its singles have made it to the Billboard Hot 100 (so far), with “Ain’t in LA” reaching No. 27 while “Nicole Kidman” recently ascended to No. 11.

“I never in my mind doubted that it would happen,” she recently told Billboard of her hard-earned success in 2026. “I don’t know if that’s conceited to say, but … I feel like I have heart, and I have something to say.”

Check out the exclusive photos of ADÉLA on stage and off at the Fonda Theatre on Thursday night below.

Nicole Kidman has been well loved by pop music in 2026, with both Troye Sivan and ADÉLA paying tribute to her in their projects this year.

In his Friday (Oct. 9) interview with Billboard, the Aussie singer opened up about why he wanted the Oscar winner to star in his “She’s the Best” music video while shouting out ADÉLA’s hit “Nicole Kidman,” which recently reached a new peak at No. 11 on the Billboard Hot 100. “I was just listening to, ‘Every single night…,’” Sivan began, singing some of the Slovak star’s lyrics.

“Nicole is — I haven’t spoken to ADÉLA about the song — but I think maybe for the same reason she wrote that song,” he continued. “Nicole represents something, I think, to so many people that is kind of unexplainable. There’s an energy there that’s so captivating. She’s such a good example of the women I’ve been obsessed with my entire life.”

ADÉLA recently shared similar thoughts with Billboard and acknowledged how “wild” it is that Kidman — who’s voiced support for the song named after her — is in her corner. In his conversation with Billboard, Sivan similarly expressed how present and engaged the actress was throughout the production of the “She’s the Best” visual — even though he was convinced that Kidman wouldn’t be able to show up on the day of, given how in-demand she is.

“I was like, ‘I’m going to believe it when we wrap the video,’” he recalled. “It’s Nicole Kidman! Something’s going to come up. Every time my phone would go off, and it was her name, I was like, ‘F–k, here it is.’”

The chat arrives on the same day as Sivan’s new album, She’s the Best, which comes three years after his Billboard 200 No. 20 full-length Something to Give Each Other. One of the project’s cornerstones, he said, is celebrating the women — such as Kidman — whom he’s spent his life admiring.

Sivan added that he made one of the songs, “Canada Dry,” to capture “this specific feeling of pop music that I love, which is, like, slinky sexy.”

“I feel like Addison (Rae) does a really great job of it,” he noted. “Janet (Jackson) is sort of the queen at it, Kylie (Minogue) is amazing at it.”

Madonna gets her flowers on the LP as Sivan samples her Billboard Hot 100 topper “Music” in his single “Party.” He shouted out the Queen of Pop for making it so “easy” to clear the rights to the track. Good thing, too, considering how badly he wanted to include it.

“Before you hear the ‘Music’ sample, there’s this almost vacuum where the track cuts out and cuts to me breathing, as if I’m heaving on a dance floor,” he explained to Billboard. “Then ‘Music’ by Madonna creeps in, and in my head, it’s like I’m on the dance floor closing my eyes, having one of those moments where I feel like I’m ascending. I had this story in my head, and then I got so attached to it, and I was so nervous. But Madonna somehow made it very easy and said yes pretty much right away.”

Sivan also addressed whether he cares about releasing songs that spark polarizing opinions, specifically such as “She’s the Best.” “No, it’s kind of what I want,” he said. “I’ve never really strived for a ‘hit’ in my career — I’ve never really had one, to be honest. I feel like a song like ‘Rush’ changed my life so much more than a song like ‘Youth’ did.

“Coming off the back of a project that was as pop as my last one, I kind of wanted a reclamation of, ‘I still don’t have interest in playing the pop game, really.’ I liked the idea of doing something that was for me.”

Watch Billboard‘s full interview with Sivan above.

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John Mayer is coming to Sin City in April. After announcing a six-show residency at Sphere, the singer-songwriter has added more dates, with 18 concerts in total, as of press time.

With a long list of Las Vegas residencies to choose from, the Sphere offers a visual experience unlike any other stage, and offers a state-of-the-art, multisensory experience that promises to bring John Mayer’s music, which includes from his solo, trio and full band material, to life in unique ways.

Tickets to the residency first went on sale through Live Nation and Ticketmaster, while the retailer’s Face Value Exchange program is an option for fans to resell tickets.

However, many of the dates have either sold out or are very close to selling out, so one of the best ways to find last-minute John Mayer at Sphere tickets online is through third-party sites, such as StubHub, Vivid Seats, SeatGeek, TicketNetwork, Gametime, Event Tickets Center and others. All online retailers guarantee authentic tickets in time for your concert. Prices may be above or below face value at times.

Where to Find John Mayer 2027 Residency at Sphere Tickets Online

StubHub has all-in pricing, so all fees are listed upfront. The site’s “FanProtect Guarantee” ensures that tickets are valid and delivered in time for the concert. If not, you’ll get your money back. In addition, if the concert is canceled and not rescheduled, you’ll receive 120% credit or be offered a full refund without the extra credit. At the time of publishing, John Mayer at Sphere tickets start at $211.

Vivid Seats lets you search by type of seat, such as suite, standing room, front of section or the VIP section, while the retailer prioritizes “Super Sellers” who are “experienced, highly rated sellers.” With Vivid Seats, your purchase is protected with the company’s “100% Buyer Guarantee,” which ensures that you receive legitimate tickets in time for your concert or your money back.

Meanwhile, you can save an additional 10% off your first purchase when you sign up for the company’s email list. As a bonus, you can use our exclusive promo code BB30 to take $30 off your first purchase. And as of this publication date, tickets start at $175.

Tickets are delivered digitally via email, so they’re available on your phone before you go through security. And prices are surprisingly reasonable, even for the hottest tickets. For example, SeatGeek has cheap John Mayer at Sphere tickets online from $176. Use our discount code BILLBOARD10 to save an additional $10 at checkout.

TicketNetwork has ticket packages, which include parking passes, VIP access, meet and greets and other great experiences. It has tickets to John Mayer at Sphere concerts with all-in pricing that lets you see exactly what you’ll pay up front (fees included). Tickets start at $244, as of this writing. You can use our exclusive code BILLBOARD150 to save $150 off purchases over $500, or BILLBOARD300 to save $300 off orders of $1000 and up.

And since TicketNetwork is a resale site, the company says that pricing may sometimes be below face value because tickets aren’t held to a specific price point. It guarantees that the tickets you receive are the ones you purchased, and sometimes, even better than expected.

Gametime is a stellar third-party retailer for fans looking for affordable tickets. Tickets for in-demand concerts like John Mayer at Sphere start at $178. It guarantees the lowest prices, event cancellation protection and on-time ticket delivery for a smooth ticket-buying experience.

John Mayer’s 2027 Residency at Sphere Dates