Ten years after helping make “Baby Shark Dance” a global phenomenon, Baby Shark Boy is making his own splash in music.

The performer who famously appeared in the original video for Pinkfong’s “Baby Shark Dance” as a kid has officially launched his recording career with “WAVE,” a song that features JOOHONEY from K-pop group Monsta X. The single is an earworm of electropop, transforming the melody millions of kids have had stuck in their heads into a full dance track.

This isn’t just a nostalgic callback, either. The original “Baby Shark” became a bona fide Billboard hit, peaking at No. 32 on the Billboard Hot 100 in January 2019 and also reaching No. 12 on Billboard‘s Streaming Songs chart.

Now, the performer who helped bring that phenomenon to life is getting his own chance to make an impact on the charts. “WAVE” opens with the recognizable “Baby Shark” melody before shifting into an energetic blend of dance and trap. Baby Shark Boy (real name: Park Geon-roung) also participated in writing the lyrics, using the song to reflect on the full-circle journey that began when he was just a child.

“For me, Baby Shark Dance was like the first wave that began 10 years ago,” Baby Shark Boy said in a statement shared with Billboard. “I grew up riding that wave, and now I’m standing at a new starting point as Baby Shark Boy.”

The new single also gives the former child performer a decidedly K-pop introduction. JOOHONEY of Monsta X appears on the track, adding his rap vocals to Baby Shark Boy’s performance, while choreography comes from TEAM SAME, led by Young-jun Choi, whose credits include BTS, SEVENTEEN and TWICE.

The accompanying performance draws inspiration from the original “Baby Shark Dance” moves, but gives them a bit of a K-pop makeover designed to be just as easy to follow and equally hypnotizing.

The timing is fitting considering just how enormous the original song became. “Baby Shark Dance” has surpassed 17.2 billion views on YouTube, making it the platform’s most-viewed video ever. Baby Shark Boy also made a surprise return to the franchise’s 10th-anniversary short-form content in 2025, with his appearance racking up more than 22 million views.

And while the original “Baby Shark” was once an unlikely Billboard hit, Baby Shark Boy now has a very different goal: to introduce audiences to the person behind the viral childhood segment. “I put that sense of moving forward into ‘WAVE,’ and I hope people can see who I am today in a new way,” he added.

The launch won’t end with just the single, either: The Pinkfong Company is preparing WAVE: Becoming Baby Shark Boy, a behind-the-scenes documentary chronicling his growth from a child performer in “Baby Shark Dance” to the artist behind his debut single. Additionally, The Pinkfong Company is considering additional collaborations, including a potential appearance in an upcoming Baby Shark film expected in winter 2026.

Nirvana‘s 1991 Nevermind track “Lithium” was already a roiling, emotional roller coaster about grief, depression and loss that still stands as one of late singer/guitarist Kurt Cobain’s most intense portraits of inner turmoil.

In a solo acoustic cover for BBC Radio 1’s Live Lounge, Phoebe Bridgers somehow found a new, even more haunting approach to the song that Nirvana’ famously played on MTV’s Unplugged, only minus Cobain’s signature pained howl. Plucking out the tune’s melody on guitar, Bridgers unlocked a new gear, giving it a folky, ethereal quality as she breathily sung, “Sunday morning is every day, for all I care/ And I’m not scared/ Light my candles in a daze, ’cause I found God/ Yeah, yeah/ Yeah, yeah.”

In keeping with the long-running show’s tradition of artists playing a classic cover alongside their own tunes, Bridgers also performed two tracks from her just-released Lost Weekend solo album, “Lost Boys” and “Bobby.”

It’s unclear when the session — whose video was not available at press time — was taped, but it appears to have been tracked before the singer was forced to cancel a run of planned intimate U.K. performances booked for this week due to a bout of appendicitis. The shows in support of her third solo LP that were announced with just a week’s notice were slated to kick off on Wednesday (Aug. 19) in Kingston, London and include stops in Brighton tonight (Aug. 20) and Bristol on Friday (Aug. 21).

“I got appendicitis for my birthday,” she wrote in an Instagram Story that included a picture of her in a hospital bed. “Everything in the UK this week will have to move but I’ll make it up to you!!!!” Her U.K. fans needn’t be too worried, as Bridgers is due back for a run of arena shows this fall, concluding with two sold-out shows at London’s O2 Arena on Dec. 1-2.

Listen to Bridgers’ rendition of Nirvana’s “Lithium” below.

Weezer’s golden era is upon us, so the cherished rock band shared some of the glittery stuff with a late-night performance.

Rivers Cuomo and Co. stopped by NBC’s The Tonight Show Starring Jimmy Fallon for a spot that aired Wednesday night (Aug. 19) — on the eve of the band’s self-titled release, also known as The Gold Album (via Reprise/Warner Records).

Cuomo came to entertain, and he stuck to the brief. For a performance of Gold Album cut “We Might as Well Be Strangers,” the band leader dressed from top to bottom in gold, complete with gold trousers, jacket, bow tie, top hat, and topped off with make-up that looked like he tangled with Bond villain Goldfinger.

Watch below.

Cuomo stayed in character when he and bandmate Patrick Wilson sat for a chat with Fallon.

After celebrating their debut album’s 30th anniversary in 2024 with a major sold-out tour alongside the Flaming Lips and Dinosaur Jr. as support, the band reconvened in Orange County and got down to the business of writing and recording. Klas Ahlundand and Kenneth Blume (FKA Kenny Beats) came on board handling production duties, and the four-piece went to work.

“What you hear on the record is something that could only be created by humans coming together and being vulnerable and creating something together,” Cuomo tells Fallon of the new LP. “It just can’t be created by AI or a somebody on their own working on a computer or something.”

The Gold project — the seventh in Weezer’s color-coded series of self-titled albums — drops Friday, Aug. 21, marking the 16th studio album since their debut Weezer (Blue Album) in 1994.

As previously reported, the band will support the new release with Weezer: The Gathering tour, kicking off in September with stops across North America. “The gathering has something to do with summoning sorcerers from all corners of the world to come into this,” Cuomo tells Fallon. “And I think this tour is something like that. We’re summoning all the different kinds of Weezer fans from around the world to come rock out with us.”

Watch the interview below.

America’s Got Talent fans got a blast of K-pop during Wednesday night’s (Aug. 19) results show, as NCT 127 performed a two-song medley.

Formed a decade ago in Seoul, NCT 127 brought their signature energy and slick dance moves to the AGT stage, on a night when the first batch of semifinalists was announced.

Johnny, Taeyong, Yuta, Jaehyun and Haechan dazzled with a performance of “Kick It,” released in 2020, followed by “Piñata,” which arrived earlier this month as the first taste from BLINGY (via SM Entertainment and Virgin Music Group), their seventh studio album.

Due out Monday, Aug. 24, BLINGY will feature nine tracks and marks the group’s first full-length album in two years, and first as a five-member group — for the time being — since Doyoung and Jungwoo are currently serving in the military.

For fans who can’t get enough of the lads, the official “NCT 127 7th Album [BLINGY] Comeback Live Party” is set for Aug. 25, where the group will perform all the songs of the album, as well as sharing behind-the-scenes stories from the recording sessions. 

Meanwhile, the AGT journey continues for several more acts, who on Wednesday night secured entry to the semis.

America voted, and rapper Luke Taleno, animal act Olivia Befus and laser dancers Royal Lasers move forward in the competition. They’re joined by magic act Hundred Fingers, which, during their quarterfinal performance on Tuesday, received an historic Golden Buzzer from judge Howie Mandel, and advance to the season finale. Hundred Fingers is the first contestant in AGT history to receive two Golden Buzzers within the same season.

Next up: quarterfinal two featuring Bety, Brad & Tracy, Butter & Grit, Come Here, Geno Ploeger, LaRussell, Mackenzie Sol, Nene Royal, Nyjah Music & Zyah Rhythm, Patrox, and Veronika Goroshkova.

Season 21 of AGT continues next Tuesday, Aug. 25 on NBC, streaming the following day on Peacock.

Watch NCT 127’s AGT performance below.

Home in Nashville after the first North American leg of touring to promote Evanescence‘s latest album, Sanctuary, Amy Lee has been decompressing and busy getting her 12-year-old son back into school mode.

She’s also had time to reflect on the band’s 2026 so far — and can’t help but be pleased with what she says been “a really good year, and an emotional one” in the best of ways.

“This album and this moment, and all of the support that has come together at the same time just feels like something bigger than myself, and that I wasn’t expecting at this phase in my life,” Lee tells Billboard via Zoom. “It just feels like it’s that good moment. Life is full of so many ups and downs and mediums, and this is definitely an up, and it means more than anything could have in my first couple years coming out, when I still a kid and hadn’t seen so much and felt so much.

“It’s a lot to sum up, but it’s been emotional in a very beautiful, connected way. I feel grounded and lifted, spiritually, through my band, my team, the fans, the music, the tour. It’s been a really special thing so far.”

The empirical data certain bears that out. Sanctuary, Evanescence’s sixth studio effort, debuted in the top 10 of Billboard’s Top Rock Albums and Independent Albums charts after its June 5 release. It contains the band’s first two No. 1 Mainstream Rock Airplay hits — “Who Will You Follow,” and “Afterlife” from last year’s Netflix animated series Devil May Dry. Lee was also part of “End of You,” a collaboration with Poppy and Courtney LaPLante of Spiritbox.

For Lee, the sole remaining member of the group that formed during 1994 in Little Rock, Ark., the success is about both the moment of Sanctuary as well as the 22 years that preceded it, which includes sales of more than 32 million albums and a pair of Grammy Awards.

“I think that it gets deeper the longer that you survive together, us and the fans,” she explains. “I think now that we’re past the 20-year mark I feel this incredible new depth that has to do with that, with the time. It’s not just about the new music and proving this next thing is great; there’s also this nostalgia power, a life we already have in the past, together. You have a connection because of the things you’ve been through together, and the fact is that this music — “Bring Me to Life,” Fallen and beyond — has existed for such a long that it has a place in people’s hearts, and whatever we do now is just adding to that, and also bringing in some new people.”

Bring Me (Back) To Life

Evanescence’s current run is also something of a culmination of work, side projects and other life-changing moments during the past decade. Lee released a solo album, Aftermath, in 2014, then brought back the band the following year, and took to start a family. That busy period enabled her “to find out who I was and what was next.”

To that point Evanescence had released three albums — the diamond-certified breakthrough Fallen in 2003, the double-platinum The Open Door in 2006 and a self-titled effort in 2011. The latter two also debuted at No. 1 on the Billboard 200. Yet the group was encountering business issues, suing Wind-up Records for unpaid royalties (which was settled out of court) while the label was selling its catalog to what became Concord Bicycle Music. “There was a lot of business clean-up that had to be done,” acknowledges Jordan Berliant of Revelation Management, who’s been with Evanescence since that time.

And there was the matter of engineering Evanescence’s return, including some lineup changes and a new deal with BMG.

“Amy was ready to get back into music but was working on a lot of different directions in her mind,” Berliant recalls. “There were a lot of things she wanted to accomplish both as an individual, and then as a member or the leader of Evanescence.”

The former came first.

Though Evanescence returned to live duty and put together The Ultimate Collection vinyl box set, the rarities compilation Lost Whispers and a demo CD Origin, Lee released a children’s album, Dream Too Much, in 2016 and a single, “Speak to Me,” for the 2017 film Voice From the Stone. The band then recorded Synthesis, a top 10 effort featuring orchestral versions of its songs, arranged by David Campbell and featuring a collaboration with Lindsey Stirling.

“It was a very, very cool way to reintroduce people to the band,” Berliant explains, “and also kind of extricate the definition of Evanescence from being in kind of nu-metal prison and showing the world, and her, it could be more than that, that the songs themselves have a life beyond that era.”

Since then Evanescence projects, including 2021’s The Bitter Truth, have alternated with Lee efforts such as a teaming with Eurythmics’ Dave Stewart, Body Count, Bring Me the Horizon and Stirling, as well as a duet with Halsey for the 2025 action film Ballerina and the “End of You” collaboration. The prominent use of “Bring Me to Life” in HBO’s The Rehearsal breathed new life into the song and put some jet fuel behind Evanescence, as did tours with Korn and Muse.

“That really set the stage for elevating the touring,” Berliant says, culminating in Evanescence’s first stadium headline date before 40,000 fans on Oct. 21, 2023 in Sao Paulo, Brazin. “There’s a lot of stuff you can’t plan but it tends to happen when you put yourself out there and you’re succeeding,”

The efforts were not lost on Lee, either.

“From the management to our agents to the promoters, this has definitely felt like a moment when everyone really just gave us their best and truly wanted the best for this album and this moment for the band,” Lee says. “I couldn’t be more grateful. It’s beautifully humbling to be part of such a big thing I love so much.”

The Open Door

What Lee brought into Sanctuary was an urge for collaboration, started by working with co-writer Alex Seaver on “Afterlife.” “We were working on this minute-and-a-half piece of music for the (Devil May Cry) scene and had to hurry, hurry, hurry ’cause Netflix needed it,” she remembers. “But afterwards everybody was like, ‘This should be a full-on Evanescence song. It really sounds like it wants to be, so let’s finish it,’ and (Seaver) was like, ‘Yeah.’

“So I took the song in with the band and Nick (Raskulinecz, producer), and it felt like such beautiful fuel for (the album). It felt like a gift. And it turned out so well that we were like, ‘Why don’t we work with some cool people who say they want to work with us all the time?” (laughs)

Raskulinecz, who also produced The Bitter Truth, helmed five of Sanctuary’s 12 tracks, with the team of Jordan Fish and Zakk Cervini helming the rest, including co-writing with the band. “Who Will You Follow,” in fact, was the first song they worked on, and Lee notes that “we ended up really just catching lightning with them. It was like, ‘I love what you do, you love what I do. Let’s make some noise and see what happens.’ We had this special moment during the album creation where we had six days in L.A. with just the four of us, and it felt like the crux of the album happened in that time.

“It’s really, really inspiring and rare that you make those connections with other people, when you feel like they get you and you get them and at the same time you’re each bringing something into the equation. It’s really special to be chasing that.”

Fish and Cervini, according to Lee, also brought a fanboy element into their perspective towards Evanescence that also helped steer the album’s direction.

“They were both fully aware of and interested in and inspired by our music, the early stuff, in a way that’s different than somebody who’s a little older and liked it, but was already a professional at the time,” Lee explains. “They were influenced by us when they were starting out, so it was like a shared understanding of things I kind of forgot about a little bit, because I’m so busy having to criticize us. They helped us realize all those things that were beautiful in our music that maybe you forgot about.

“It felt like a very independent record for me, personally, in taking chances, doing things I wasn’t allowed to before but still doing my best to maintain the heart of the spirit of what it originally was.”

Lee jokes about “world domination” on the horizon, but Evanescence really is headed to the rest of the world now. The quintet begins its first-ever arena tour in the U.K. and Europe on Sept. 8 in England and has a couple more U.S. dates during October — including the Sick New World Texas 2026 festival in Fort Worth and Red Rocks Amphitheatre — before heading to Malaysia for a stadium date in November and Japan in December. Australia and New Zealand are set for next March, with other international touring, including festival appearances, on tap for 2027 as well.

“This album cycle is really special to me,” Lee says. “This production has been a really fun and fulfilling adventure, and my mind is on different things we’re gonna do with it and bring it to life — maybe documenting the show (on film), which we’re planning to do the right way, and also art with the songs, like music videos. My mind’s definitely been rolling around with imagery and themes and things like that, how and who to collaborate with on that. All those gears are definitely winding right now.”

New music is a far-flung thought, although Lee says that “I’ve hummed at least one idea to myself and recorded in my voice notes already, because I’m feeling inspired and fulfilled and all those good things.” But she anticipates it will be a minute before she’s ready to move on.

“It usually comes about a year in, when the music starts feeling kinda routine,” Lee says. “It doesn’t feel like that yet. But I do feel very inspired, and I think I’m committed to being better about striking immediately when an idea’s hitting, rather than leaving it in the background for years, so it`ll come at any time.”

Halsey’s no stranger to changing up her hairstyle.

The singer, who has long used her hair as a form of self-expression, showed off her latest look on Instagram, revealing that she had transformed her short cut from dark brown to platinum blond.

The 30-year-old artist posted a carousel of photos in which she poses in gray track pants, a white crop top and headphones, debuting her new hair color on social media. “Auprès de ma blonde,” reads the caption, which literally translates to “next to my blonde,” but in older French and Canadian French, it means “next to my girl.”

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On Aug. 10, the “Without Me” singer was seen in Los Angeles sporting her brunette pixie cut while moderating a Q&A panel with Hacks star Hannah Einbinder. Last month, during her European festival run for The Girl in the Tower, Halsey took the stage wearing long, dark braids with subtle caramel-blond streaks. 

Halsey, born Ashley Frangipane, has never been shy about switching things up, moving from blue hairdos to buzz cuts and Twiggy-inspired styles. As she continues to balance motherhood, new creative paths and her music career, her hair remains an undeniable part of her self-expression and a way to keep fans guessing about which look she’ll try next.

In an interview with Billboard,the artist opened up about how she approaches creative decisions with an open mind, a shift she said came after becoming a parent.

“Something really amazing happened when I did have my son, which is the absolute, glorious eradication and death of my ego,” Halsey said. “Nothing matters when I go home to him. He thinks I’m perfect and great and everything.”

Post Malone and Christy Lee are engaged after rekindling their relationship, People has confirmed.

On Wednesday (Aug. 19), Lee’s friend Marina Hollyer posted the news on Instagram Stories, sharing a photo of the couple with the caption “My best friend in the world just got engaged.”

TMZ was first to report the news. Billboard has reached out to Malone’s publicist for confirmation.

According to TMZ, Malone proposed to Lee on Tuesday in Utah, where friends also flew out to celebrate the occasion.

Malone and Lee were first linked in early 2025, when they were spotted together during a dinner outing in Rome. By March of that year, the pair had been photographed showing PDA, and they were later spotted together in Paris. People also reported on their April 2025 dinner date in Paris, where the two were photographed walking hand-in-hand after their meal.

However, TMZ reported in June 2025 that Malone and Lee had called it quits after several months of dating. The outlet reported at the time that the couple had separated nearly a month earlier.

It’s unclear exactly when Malone and Lee reconciled, though the pair were photographed together at the Khaite fashion show in New York in February 2026, including in the picture above.

Lee’s relationship with Malone began not long after the singer ended his previous engagement to Hee Sung “Jamie” Park, the mother of his daughter. He confirmed the engagement in 2022 after proposing during a trip to Las Vegas, and the couple welcomed their daughter that same year.

People reported in April 2025 that Malone and Park had seemingly split by early 2025, shortly before Malone began appearing publicly with Lee.

Neither Malone nor Lee has publicly confirmed the reported engagement at the time of publication.

Madelyn Cline is forever part of the Sabrina Carpenter Cinematic Universe, thanks to her co-starring role in the “House Tour” music video, but she didn’t get the memo about a very important, celebratory fact: “House Tour” is a 2026 MTV VMA nominee.

The Outer Banks star learned that little piece of information live on Wednesdays (Aug. 19) episode of Today, when host Carson Daly brought up her cameo in Carpenter’s cheeky, sultry video for “House Tour.”

Cline had nothing but love for the opportunity to be featured, alongside Carpenter and Margaret Qualley, explaining that accepting the role was an “immediate yes” because she and the pop star have been friends for a long time — and because, well, she’s a Sabrina Carpenter fan herself.

“No questions asked,” Cline said of joining the music video. “We’ve been friends for a long time. … I’ve been a fan of Sabrina’s for a long time too.”

Then Daly hit her with the news, asking her if she was aware that it was nominated for a VMA the day before. Cline’s reaction was so lighthearted but humorous as well, since she was visibly surprised and immediately broke into laughter as she processed the nomination.

“No! What? I’m really excited!” she said. “I’m so behind. I’m sweating.”

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Carpenter and Qualley — who co-directed the video and co-star alongside Cline — earned the best direction nomination for “House Tour,” one of seven nominations Carpenter received for the 2026 VMAs, where she is also up for video of the year (for “Tears”) and artist of the year.

The nomination is also another feather in the cap (no pun intended) for a song that has already had quite the Billboard run. “House Tour” charted at No. 27 on the Billboard Hot 100 following the release of Carpenter’s Man’s Best Friend album in August 2025. And the song isn’t exactly ready to move out of Carpenter’s chart house quite yet: “House Tour” continued its run on the Hot 100 into 2026, hitting No. 68 in July as it picked up steady radio support.

The accompanying video, meanwhile, is basically a three-minute-and-change fever dream tailor-made for the Sabrina-verse. Carpenter, Qualley and Cline roll up to a mansion in a pink “Pretty Girl Clean-Up Crew” van before proceeding to gleefully wreak havoc throughout the house.

And Cline is clearly still not over the fact that she got to be a part of it. Last week, while appearing on Jake Shane’s Therapuss podcast, Cline called being part of the video one of her favorite achievements. “To look in the mirror and to know that I am part of the Sabrina-verse is truly one of — I feel like it’s one of my favorite accomplishments,” she said, adding that she “adore[s] Sabrina” and has “loved her for so long.”

“She is such a good, good person. She’s such a good friend,” Cline continued.

The actress also revealed that “House Tour” was filmed entirely on film over two full days, which is a fittingly elaborate production for a video that has now earned Carpenter and Qualley some very shiny VMA recognition.

Revisit the “House Tour” video below:

50 Cent is just like the rest of us.

The rapper and film producer took to Instagram to post a video of him throwing out boxes of what looks like grape and strawberry Outshine popsicles after parent company Dreyer’s Grand Ice Cream issued a voluntary recall earlier this week. He also attached a meme of the current United States Secretary of Health and Human Services Robert F. Kennedy Jr. smiling with a list of the flavors that were recalled by the company.

In the video, 50 seems pretty annoyed that he has to throw out his favorite snacks and essentially gives his followers a public service announcement in the form of a reminder to get rid of them if you have one of the five flavors that had been recalled.

“OK, now, if you eat these, they got a recall because there might be f—in’ glass in them, so you gotta throw them out,” he said begrudgingly. “Can’t even eat pops no more. What the f—?” He then doubled down in a caption that read, “Can’t eat lettuce can’t eat popsicles they recalled 5 flavors because glass may be in them. Just throw the sh– out !”

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Watermelon, grape, tangerine, black cherry and strawberry are the five flavors that have been recalled.

The FDA posted a statement from Dreyer’s along with batch codes and best before dates. You can read the statement here: “Dreyer’s Grand Ice Cream, Inc. is voluntarily recalling a limited number of select flavors of Outshine Fruit Bars due to possible foreign material contamination with glass. Products affected include Outshine Strawberry, Watermelon, Grape, Tangerine and Black Cherry 6-Count 2.5 ounce Fruit Bars and the Outshine 24-Count 2.5 ounce Variety Pack Fruit Bars.”

As long as the pomegranate flavor isn’t on the list, then we should be good.

Podcast titan Joe Rogan believes that hip-hop’s relative lack of commercial success in 2026 can be attributed to the Trump administration’s defunding of the USAID.

Rogan made the claims about hip-hop during the Aug. 13 episode of The Joe Rogan Experience with comedian Shane Gillis, Mark Normand and Ari Shaffir.

“The weird thing is how rap’s fallen off the charts. It’s because USAID got defunded,” Rogan claimed. “USAID, the agency for international development, is well-known to have been funding a bunch of radical, anti-government rappers overseas. Funding a ton of them. It was basically all about regime change.”

According to the Council on Foreign Relations, the U.S. Agency for International Development “has been a pillar of U.S. soft power and a source of foreign assistance for struggling countries, playing a leading role in coordinating the response to international emergencies such as the global food security crisis.” Per Reuters, the Trump administration announced in March 2025 that it had cut more than 80 percent of USAID-funded programs.

“The 5,200 contracts that are now cancelled spent tens of billions of dollars in ways that did not serve, (and in some cases even harmed), the core national interests of the United States,” U.S. Secretary of State Marco Rubio wrote on X at the time.

There appears to be no evidence linking USAID and funding of the rap music industry, but it’s been a conspiracy theory that’s gained a lot of steam thanks to country’s recent Hot 100 takeover, including Ella Langley’s 18 weeks atop the flagship songs chart with “Choosin’ Texas.”

Paired together, R&B/hip-hop remains the No. 1 consumed category of music, according to Luminate’s midyear report in 2026. However, R&B/hip-hop’s stranglehold on the market share has declined in recent years, as the genre fell by 1.6 percent since midyear 2025.

R&B/hip-hop has also “experienced the sharpest decline in equivalent market share since 2023” on the Billboard 200. As far as rap’s chart performance in 2026, Drake is the only hip-hop act to top the Billboard Hot 100, which he did with “Janice STFU” in May. Drizzy’s ICEMAN album is the only project to spawn a top 10 hit on the Billboard Hot 100, which also lifted Future and Molly Santana to No. 2 on the Hot 100.

Rappers have enjoyed more success on the Billboard 200 albums chart with Drake, alongside Don Toliver, A$AP Rocky, Future and J. Cole, becoming five of the 22 artists to top the tally in 2026.

Watch the full episode below. Rogan’s comments on rap and the USAID take place around the 2:10:00 mark.