Céline Dion, barefoot and beaming, joined a fan sing-along of “Pour Que Tu M’aimes Encore” on the streets of Paris on Friday (Sept. 18).

Fan-filmed footage on social media shows the pop icon climbing onto the hood of a car, taking in the crowd that gathered outside her hotel after the third show of the singer’s 26-night concert residency at Plenitude Arena in Nanterre.

Video captured Dion conducting the crowd. She waved her arms, rolled around dramatically, clapped to the beat, got up on her feet and gave heart hands while everyone sang the French-language track from her 1995 album D’eux that translates to “so that you’ll love me again.”

Dion appeared to be surrounded by security, with onlookers close to her yet respectful of her space. Post-show, she was dressed in comfortable attire: loose trousers, a plain top and a bomber jacket.

All the world’s a stage as Dion makes her comeback. After stepping back for several years due to her health — with a diagnosis of stiff-person syndrome — the star made an emotional return to the spotlight a week ago, launching her Paris residency on Sept. 12. She cried tears of joy that night.

“Ça y est, on est là. C’était une promesse. Je suis debout sur scène, dans cette ville que j’aime tant,” a teary-eyed Dion said on the arena stage opening night. “Vous entendez les battements de mon cœur?” (“That’s it, we’re here. It was a promise. I’m standing on stage, in this city I love so much,” she said. “Can you hear my heartbeat?”).

Even more triumphant by night two, on Sept. 16, Dion held back the tears.

Dion’s residency continued with a performance Saturday night (Sept. 19) and will be back to the arena stage Wednesday (Sept. 23). Dates continue through mid-November, and then resume with a series of 10 shows in May.

Gnarls Barkley is returning to the live stage.

On Friday (Sept. 18), the Grammy-winning duo comprising singer CeeLo Green and producer Danger Mouse announced that they will embark on a nine-city North American headline tour, marking their first outing in 18 years.

Gnarls Barkley’s 2026 To Whom It Still Concerns Tour will support the pair’s third and final album, Atlanta, which arrived in March via 10k Project/Atlantic Records.

The Live Nation-promoted tour launches Nov. 5 at San Francisco’s The Masonic and wraps Nov. 28 at Chicago’s House of Blues. Tickets go on sale Thursday (Sept. 24) through livenation.com.

“The Gnarls Barkley ‘To Whom It Still Concerns’ Tour operates like an open book, exploring the universal matters of life, death and everything in between,” Green said in a statement. “These songs are the silver lining to an otherwise sad story. Come, and let’s celebrate together the beautiful madness of it all.”

Gnarls Barkley, who often performed in costume, last performed live on Sept. 28, 2008, at Austin City Limits.

Atlanta is the long-awaited follow-up to the duo’s 2008 sophomore album, The Odd Couple. The pair’s Grammy-nominated debut, 2006’s St. Elsewhere, spawned the massive hit “Crazy,” which peaked at No. 2 on the Billboard Hot 100 in May 2006 while topping the U.K. charts for nine weeks.

Earlier this year, Green and Danger Mouse released their first single from Atlanta, the dreamy pop tune “Pictures.”

The Atlanta natives said in a previous press release that they had always intended to record a third album, but “life and other creative pursuits intervened,” before they reconnected last year to record the final chapter in their story.

Here are the 2026 tour dates for Gnarls Barkley’s To Whom It Still Concerns Tour:

Nov. 5: The Masonic (San Francisco)
Nov. 7: The Wiltern (Los Angeles)
Nov. 10: Coca-Cola Roxy (Atlanta)
Nov. 13: The Fillmore Detroit (Detroit)
Nov. 15: House of Blues (Boston)
Nov. 19: The Fillmore Silver Spring (Silver Spring, Md.)
Nov. 22: HISTORY (Toronto)
Nov. 24: Irving Plaza (New York)
Nov. 28: House of Blues (Chicago)

Carrot Top has reportedly been hospitalized following a suicide attempt.

The 61-year-old comedian and longtime Las Vegas performer, whose real name is Scott Thompson, attempted suicide Friday (Sept. 18) and was taken to a local hospital, according to TMZ.

His representatives confirmed Saturday that Thompson is hospitalized and recovering, according to NBC News.

“Mr. Thompson is recovering in the hospital and is receiving the care and support he needs,” his representative Jami Schlicher said in a statement. “His family and those closest to him are deeply grateful for the concern, prayers and respectfully ask for privacy.”

Schlicher did not disclose the circumstances leading up to Thompson’s hospitalization.

Carrot Top, who is known for his high-energy prop comedy and signature bright-red hair, canceled his residency shows at the Atrium Showroom at Luxor Hotel & Casino on Friday and Saturday. Tickets for his upcoming shows were still available for purchase at press time.

The comedian’s residency at the Las Vegas venue began more than two decades ago, in November 2005. His contract with the Luxor extends through 2030, according to MGM Resorts.

The Vegas mainstay first appeared on Star Search in 1991 and later established himself as a prop comedian. He has made numerous cameos in television shows and films, including Hacks, Scrubs, Pauly Shore Is Dead, Glee, Family Guy, Robot Chicken, CSI: Crime Scene Investigation and Reno 911!

He was also a frequent guest on the Jerry Lewis MDA Labor Day Telethon and teamed with PACER’s National Bullying Prevention Center to form the Together Against Bullying (TAG) campaign.

For those who are experiencing suicidal thoughts and/or distress, the 988 Suicide & Crisis Lifeline is available 24/7 by calling or texting 988, which will connect you to trained counselors for confidential support.

Ken Casey is calling out Ed Sheeran following Macklemore’s departure from the British singer’s Loop Tour.

The Dropkick Murphys frontman addressed the situation during an interview with Boston Public Radio on Wednesday (Sept. 16), discussing the rapper’s removal from the stadium tour after his onstage comments supporting Palestinians and criticizing Israel’s war in Gaza.

“I know that, as a musician for 30 years, anytime we’ve gone on tour we’ve selected the bands that have opened for us — that’s brotherhood, sisterhood, that’s family,” Casey said. “You live or die with the people you bring on the road. They’re your people.”

The punk veteran added, “And the fact that Ed Sheeran took the knee, no matter what the cause is, and not stood with his fellow tour partner, just doesn’t, you know, sit right with me. And that’s not how Dropkick Murphys would operate.”

Macklemore was dropped from the Loop Tour after just two shows, with the trek’s U.S. promoter, Messina Touring Group, announcing his removal on Sept. 14 amid growing calls for his departure. Sheeran and his team were also allegedly pressured by some stadium owners on the tour, including Gillette Stadium owner Robert Kraft.

Casey noted that promoters should not have a say in what artists say onstage, citing Dropkick Murphys’ experience at the 2025 Rocklahoma Festival in Oklahoma, where the band made statements against the Trump administration.

“We said what we have to say onstage every night, and probably about 50 percent of the audience walked away,” Casey said. “And I was told immediately afterwards that angered the owner of the site, and I’m sure we won’t get invited back.”

The Dropkick Murphys frontman added that it’s important for artists to stand by their beliefs.

“All the artists I loved as a kid, no matter what, it was that they stand by what they sing about,” he said. “Once you let that go, then you don’t have any worth in your music if you ask me.”

Following Macklemore’s removal, the remaining opening acts on Sheeran’s Loop Tour also dropped out of their scheduled performances, beginning with Aaron Rowe. Finneas and Lukas Graham later announced that they would no longer appear on the trek.

Macklemore subsequently announced that he would donate his entire $1 million earnings from the Loop Tour to humanitarian organizations providing aid to Palestinians, and challenged Kraft to match the donation. The New England Patriots owner later responded, saying Sheeran had previously asked him to “commit” $2 million to humanitarian efforts.

Aaron Rowe has defended Ed Sheeran amid the continuing fallout over Macklemore’s removal from the singer’s Loop Tour, arguing that public criticism is being directed at the wrong person.

Rowe was among the artists who withdrew from Sheeran’s remaining tour dates after Macklemore was dropped from eight scheduled appearances.

The decision followed Macklemore’s pro-Palestinian comments and performance of his 2024 protest song “Hind’s Hall” during Sheeran’s Sept. 4 and 5 concerts at MetLife Stadium in New Jersey.

“I’m gonna be honest. I think you are all focusing on the wrong person here,” Rowe said in an Instagram video posted Friday (Sept. 18). “All I keep hearing is Ed Sheeran this, Ed Sheeran that — when you really should be focusing on the likes of Robert Kraft.”

Kraft’s company, the Kraft Group, owns Gillette Stadium, where Macklemore had been scheduled to support Sheeran on Sept. 25 and 26. Macklemore previously alleged that Kraft pressured promoters to remove him from the tour. Messina Touring Group said venues had warned that upcoming concerts would not proceed while Macklemore remained on the bill.

Sheeran has said the decision was made by the tour’s promoter rather than him. He said he spoke with venues, promoters and activists in an attempt to find a resolution but was unable to overrule the decision.

Rowe said Sheeran’s response “could have been a lot better,” but argued that panic within the singer’s team contributed to the decision and that he believed Sheeran now considered it a mistake.

“I haven’t had a chance to talk to Ed too much, but I fully believe he knows that was a mistake,” Rowe said.

Rowe, Lukas Graham and FINNEAS subsequently withdrew from scheduled support appearances, while Irish band Beoga pulled out of its role in Sheeran’s touring band. Announcing his departure earlier in the week, Rowe said he could not “stand by and allow billionaires to use their position of power to silence” artists speaking about Palestinians.

Macklemore has pledged to donate $1 million in net earnings from the tour to organizations supporting Palestinians and publicly challenged Kraft to match the contribution. Kraft later announced a $2 million commitment, saying it followed a similar request from Sheeran.

Sheeran’s tour is scheduled to resume Saturday night at Lincoln Financial Field in Philadelphia. No opening acts are currently listed for the concert.

In April, Hongjoong returned to Coachella with nothing to do.

Two years earlier, he had been on the Indio Valley stage when ATEEZ became the first K-pop boy band to perform at the festival. This time he was a guest, watching other people work. “That day I got so many inspirations,” he says of a trip where he linked up with Teddy Swims, PinkPantheress, Central Cee, Swae Lee and Daesung of BIGBANG. “I really love to experience everywhere.” He came back to Los Angeles, booked a session and crafted an atmospheric pop song that he specifies is “not just chill” but about a feeling he had been chasing his whole life.

That song arrives Friday (Sept. 18) as “ENOuGH,” a collaboration with Bazzi, that is unhurried, openly emotional and, perhaps most notably, sounds nothing like the group he leads in the midst of their biggest season yet.

On June 26, ATEEZ unleashed GOLDEN HOUR : Part.5 and made a headlining debut at London’s BST Hyde Park in the U.K. just two days later. The EP gave the group its third No. 1 on the Billboard 200, opening with a career-high 228,000 equivalent album units. At home in Korea, Part.5‘s lead single “BAD” climbed the local charts thanks in part to a viral dance, helping ATEEZ secure their first entry on the Billboard Global 200. Next month, a full day dedicated to ATEEZ and their fans at the inaugural 82WORLD: LA festival is already sold out.

But none of that superstardom is visible when Hongjoong joins an afternoon video call in August from a sun-filled Los Angeles hotel room. He’s dressed down in a plain white V-neck T-shirt with the collar cut off, a few silver rings stacked on different fingers, and a single fingernail painted black — a signature he rarely goes without to raise awareness for the Polished Man campaign, which aims to end violence against children. He looks less like the leader of one of K-pop’s hardest-working groups than someone enjoying a rare stretch of good weather with nowhere urgent to be. “We are so busy these days,” he says, “but finally I get to chill a little here.”

So, when the trending group of the moment’s leader turns up with a subtle song of his own, it’s important to note that it’s not a full-fledged solo departure. “If I give you a new solo debut, maybe I (will have) prepared more than one year,” he says. “But for this one, I made this song in April in L.A.” A proper solo debut would require far more than the few months it took to deliver “ENOuGH” — a song made on a break, at a moment when, for the first time in a long time, he wasn’t sure what he was making.

“I just tried to make some chill song and also not just chill,” he says of those April studio days. “Before starting the music in L.A. in the session, before this song [became] ‘ENOuGH,’ I just focused on making good sounds because I think I need that in here. But for this song, I had a very specific message I wanted to write, and we talked about that before starting the session…I always walked with ATEEZ, and I’m really happy with that. At the same time, I’m 27 now, and I did eight years with ATEEZ. I made so many songs for ATEEZ and myself too, and now I think I have to get more experience because doing that will reflect to ATEEZ again and myself. So, that’s why I started this project and that’s why I think this song is very much ‘enough’ to start a collaboration project.”

Kim Hongjoong has spent almost a decade as ATEEZ’s leader, as well as a consistent songwriter and in-house producer for the act with nearly 200 songs officially registered under his name. In May, he made his debut as music director on the indie film Hallucination, which screened at the Jeonju International Film Festival; weeks later, he appeared on the K-POPS! soundtrack for a track alongside Anderson .Paak and Jay Park; and next month, he’ll make his solo festival debut via his first-ever live DJ set under the moniker NO1 at EDC Korea.

Still, by Hongjoong’s account, the year started confusingly.

“Last year, I really thought I knew myself very well because I know what I can do and where my good points and bad points are,” he shares. “But at the start of this year, I felt I was still learning about myself because if I make songs, sometimes I use high notes and sometimes I use low notes, but I thought that my high note is good because my vocal tone is very high and I think I’ll just use that when I make songs. But at the start of this year, when I listened to the songs that I made, I thought everything was not good. And also it makes me not ‘enough’ because — and I don’t know why — artists always change their flavor and music types.”

That reckoning and realization sent him looking for the gap between what he’s become good at as a musician and what made him want to be one in the first place.

“I thought I have to learn myself more with ATEEZ and also without ATEEZ too because I want to know about me, what I really like, and what I really don’t like,” he continues. “That’s why this music style is quite different than what I made before and ATEEZ’s style. I really love ATEEZ’s style, and I know I’m really good at doing a charismatic rap, but at the same time, the songs that I listened to when I was young were almost all emotional songs. So, that’s why I started this song with the kind of emotional chords, but also the very unique and comfortable sound.”

He’s not wrong about the charisma (listen to him declare himself the captain on “Say My Name,” the fire he spits on “This World” or last year’s solo cut “NO1”), but he’s also careful not to plant his personal flag in any one genre.

“In the near future, [my style] can change, so I want to try to collab with more artists,” he says. “Or if I release more songs, I think many things within a year will really change because I’m still learning myself. If I get my own style or learn my own style, I think there will be someday I can talk to you to say, ‘This is my style.’ I’m not sure this is my real style, but these days, at least in April, I felt this is one of my styles.”

Hongjoong’s opportunity to go find out came from something he hadn’t experienced in years: time off.

Late last year, he and his ATEEZ members sat down with management company, KQ Entertainment, and discussed setting two vacation periods in 2026. “We didn’t have any vacation before this year,” he shares. “When we confirmed to go on vacation, I immediately thought about how I could use that vacation for me and how I could use the vacation for loving myself and expressing myself at the same time.”

All eight ATEEZ members re-signed with KQ for another seven years in July 2025, with the second chapter leaving more space for individuality: Mingi released a six-track solo EP in May, Yunho has moved more into acting and others are taking on their own individual work, which Hongjoong frames as crucial maintenance for the group. “We put ATEEZ first,” he says. “But at the same time, everyone wants to plan their own things too. I think that’s very important to make ATEEZ last longer because everyone needs to express themselves and that makes synergy.”

In rediscovering his sparks, he first found a word with the song’s title coming before the track did.

“To be honest — well, everything is honest because I don’t wanna lie to you — but when I started to write this song, I wanted to sing about [a topic] I’ve never sung about before,” Hongjoong explains. “In my head, sometimes I felt not enough. But also, I think for my whole life I’ve been trying to find something that makes me enough, makes me feel enough. These days, after Coachella and after I got a little vacation, I thought about how something beside me, something nearby, already makes me enough. I didn’t think that was enough, but I realized it was actually a very easy task, to make me enough and I didn’t know before — and that’s why I wrote these lyrics.

“After I wrote the whole lyrics, I felt that many people will feel the same. These days, I think many people find that something can be lacking…” — here he pops out of English for one of the few times in the conversation, landing with his translator’s help on the word “deficiency” — “yeah, a deficiency within their lives, something lacking. And I always focused on that too before. But these days, I think and want to say to many audiences that we don’t have to fear the lacking or deficiency. If we focus on something that we already have, it makes me feel enough to me and can make you feel like you’re enough too.”

Despite its deeper meaning, the easy-listening vibe of “ENOuGH” sounds like a love song at first and Hongjoong doesn’t mind that. “That’s the whole message of this song, but at the same time, it looks very much like a love song too,” he says of a serenade that doubles as a note to oneself. “And that’s very right: I love my job and I love our fans. Also, I can love some girls too; I can love another person or people. I don’t wanna expose a very specific person or specific thing, but that’s why I started this song, and that’s the whole message of this song.”

Meanwhile, Bazzi was part of the song well before he was officially on the record: the Billboard Hot 100 hit “Mine” from 2017 and 2018’s “Beautiful” were fixtures for Hongjoong before he ever entered the industry. But a shared festival experience did the rest.

“We had good timing,” HJ recalls of ATEEZ playing BST Hyde Park Festival the same day Bazzi was on the lineup. “We met and we talked a little bit about our lives. When I was training, his songs were very big inspirations to me, so I talked about that too because ‘Mine’ and ‘Beautiful’ were songs I covered and I listened to a lot. So I talked with him a lot, we exchanged numbers, and after we went back home, I felt like this song was a very good fit for him. And I really love his COSMIC album and this song gave me that same energy. So, that’s why I asked him, ‘How about this song? We could make some kind of magic together.’ And he told me he 100% wanted to be in this song. So it happened very naturally and very fast. He recorded his part to me; we had some ping-pong about ad-libs and some chorus parts and very naturally made this song.”

Hongjoong’s quick, relentless work ethic means there’s more where that came from. “After I made this song, I actually have two, three more songs that I made,” he shares, “So, if I have a chance, I want to release these songs with the right timing.”

The day after chatting with Billboard, Hongjoong shot the “ENOuGH” music video in Los Angeles with a concept in his head long before he finished the song. “When I start music and film something, I have my whole vision,” he says. “Without a visual, I really can’t do anything, because my job is showing something to people.”

The concept has Hongjoong leaving Earth in a spaceship and traveling to a collaborator’s planets, with the first stop being Bazzi’s planet. “This whole story started from me,” he says. “Eight years with ATEEZ for me is a huge thing. I said I want more experiences, so for me, a huge experience is going to space. My huge role model is David Bowie. I love his music, but after my love of his music, space is one of my dream places. I’m scared that I can’t really go there in my reality, but I think I can make that visual in my music video. So, I want to travel space, but it’s just ‘my’ space, in my head. I don’t know when more collabs will come to me, but this is the start of the whole travel when I visit the Bazzi planet. Every planet will have a theme and Bazzi’s planet is time. Because in my fast life, I always felt that lack or deficiency, but after his planet, all of my emotions and thoughts are all ‘enough’ to me.”

For all the talk of learning to find contentment, Hongjoong has kept his and his band’s larger picture in mind instead of tracking day-to-day success.

“K-artists, and artists in general, always have ups and downs,” he shares. “I’m really happy with every achievement we’ve had, but I’m still preparing for the next step…we can go down someday, but I don’t want to make that huge gap to ATEEZ.” He also doesn’t want a year like 2026 or any of his future endeavors as an artist or group member to become what he calls “forgettable.”

That next step is written into the end of the “ENOuGH” video. After Hongjoong sings with Bazzi on the new planet, the lights on his spaceship start flashing, calling him back, and the viewer sees Hongjoong take one last look at the planet before he’s aboard again, journeying to whatever experience and lesson the next planet has for him.

Asked what Planet Hongjoong looks like, he doesn’t need to invent one — he’s already found his home complete with seven other inhabitants.

“My planet is Earth, actually,” he says with a big smile. “My planet is ATEEZ, from now and forever, so my home is ATEEZ, so I can’t move to another planet. I just go there and then I come back.”

Miley Cyrus and fiancé Maxx Morando only have eyes for each other in the loved-up video for the singer’s second Bass Persuades single, “Let’s Get Married.” The black-and-white clip filmed by fashion photographer Mert Alas has the feel of blissful home video shot at the coolest party you will never get invited to.

The clip for the swoony ballad features the couple lolling in bed and hanging out with a beautiful crew of model-like pals at Los Angeles’ famed Chateau Marmont hotel at a weekend-long party where clothing is mostly optional, but perfect abs and open minds are a must.

“Let’s go get married tonight/ Let’s get married/ I’m having visions of white,” Miley croons over footage of the singer dancing on the bed in leopard-print underwear while Morando shoots footage of her on an old Super 8 camera. The happy couple, naturally, take occasional breaks to sip champagne, soak in a bubble bath and lasciviously feed each other ice cream amid the barely dressed, hedonistic debauchery. “Let’s get married/ Let’s turn the rest of our lives to a holiday/ Anytime, any place, we can run away/ Get married tonight/ Let’s get married,” Miley sings dreamily.

“Let’s Get Married” is the second single from Cyrus’ just-released Bass Persuades album and in a post before the clip dropped, she wrote, “It’s been less than a year since starting to create this album and now releasing it. Having this record keep up with the way my life moves in real time and still feel so alive is special. Thank you to everyone who made this album what it is. Love you. ❤️”

Bass Persuades — credited to the singer’s new mononym, Miley — is the follow-up to Cyrus’ 2024 Something Beautiful album, which debuted at No. 4 on the Billboard 200.

Watch the “Let’s Get Married” video below.

You can call Carly Rae Jepsen many things, but lazy isn’t one of them. Try pop star, mom, busy.

The Canadian pop artist burst out the gates with her all-conquering 2012 smash “Call Me Maybe,” a song that logged nine weeks at No. 1 on the Billboard Hot 100, the first of her six appearances on the chart.

With the release at midnight of Day and Night, her eighth studio album, Jepsen provides us with two-dozen potential new hits. Day and Night is a double album, spanning 24 songs and clocking in at more than 100 minutes.

“I always knew I wanted to do one day was a double album, and if not now, then when, really,” she tells Billboard News. “I was kind of divided in these two different flavors of what I wanted to do musically, and the solution was sort of just why not do both at the same time? So Day and Night was born.”

The brooding first single from it, “On Wires,” is like a brand new toy.

“I hadn’t really done anything quite like ‘On Wires’ before,” she explains, “and I think, you know, as a musician who’s been in this for a while now, that’s so exciting to land on, like, a new genre to play with that maybe you haven’t dabbled in before and to figure out how to make it your own.” Co-written with Nate Cyphert and Kyle Shearer, “we all felt like we had something special,” she recounts.

Jepsen doesn’t do things by halves. Last month, producers of an upcoming Broadway musical adaptation of 10 Things I Hate About You announced that Jepsen will team up with Grammy-winner Ethan Gruska (boygenius) to write the project’s music and lyrics.

And in March of this year, the artist became a mom when she and her husband, Cole Marsden Greif-Neill (aka Cole M.G.N.), welcomed a baby boy, Ilya.

Day and Night is the followup to 2023’s The Loveliest Time. All told, Jepsen has five entries on the all-genres albums chart, including 2016’s top 10 release EMOTION, which recently celebrated its 10th anniversary with a special expanded edition featuring new songs “More,” “Guardian Angel,” “Back Of My Heart” and “Lost In Devotion.”

Stream Day and Night below and watch Jepsen’s interview with Billboard News here.

Billboard’s Friday Music Guide serves as a handy guide to New Music Friday’s most essential releases each week — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.

Last week, we featured Jhené Aiko, Bleachers, Dove Cameron and more.

This week, Miley (sans Cyrus) releases her Atlantic debut Bass Persuades; Carly Rae Jepsen shares her anticipated double album Day and Night; and country star Riley Green’s fourth album, That’s Just Me, is out… plus much more. Check out all of this week’s picks below:

Miley, Bass Persuades

Ahead of her 10th studio album, the pop star ushered in some changes — as she’s wont to do. She signed a new record deal with Atlantic Records and is just Miley now, no Cyrus. While the album’s lead single and title track is a full-on dance-pop banger, second single “Let’s Get Married” slows it down as Miley adoringly sings of wanting to wed her fiancé Maxx Morando. The rest of the album’s 10 tracks (including a “Bass Persuades Remix”) fluctuate between these two realms, largely united by the idea that Miley is, without a doubt, in love and looking forward to all that is yet to come her way as a result. — LYNDSEY HAVENS

Carly Rae Jepsen, Day and Night

Pop star Carly Rae Jepsen is on her eighth studio album — and as a gift, it’s a two-for-one special. The two-disc album fittingly features one set that’s full of “daytime” songs that explore varied tempos and spotlight songwriting, while the second set is purely sundown dance-pop productions. Together, the 24 songs make for a stellar one-and-a-half hour long sonic journey. — L.H.

Rosé, “New Trick”

Rosé’s latest is a pop-rock hit that is begging for a remix with Olivia Rodrigo, with its grungy, high-energy production and scream-along chorus bookended by syrupy sweet vocals on each verse. As Rosé works on her upcoming second full-length album, she’s teamed back up with Amy Allen — and the two co-wrote “New Trick” together just a few days after this year’s Met Gala in May (though a statement confirms this isn’t the album’s official comeback single, which will come next year). Though, considering how well the new tricks on this single land, here’s hoping she explores it more on whatever comes next. — L.H.

Freya Skye, “bad taste”

Rising pop star Freya Skye’s latest is an ode to not knowing how to pick ’em — and owning it. As she told Billboard of the song, “‘Bad Taste’ is the first time I was a bit less serious. What meets the eye is a playful, kind of sarcastic tone that I’ve never gone into before.” Now that she has, she’s hoping the song will get her fans excited “for the next shift…I do think it will feel more elevated than anything before.” — L.H.

Kim Petras, Detour (Rare N’ Deluxe)

Nearly four months after the release of her third album Detour this May, Petras is sharing its deluxe version led by focus track “Autobahn,” one of four new songs. The melodic pop song is the most downtempo of the deluxe additions (most in line with “Jeep” from the original album) and is a refreshing peek into Petra’s lesser-shown artistic side. — L.H.

Riley Green, That’s Just Me

On Green’s fourth studio album, he’s remained focused on the main thing: continuing to cement his reputation as a musical purveyor of timeless-feeling country songs. He also continues his penchant for heartfelt heartbreak ballads, but also ventures into more humorous musical territory such as the clever “Beach Happy” and “Think As You Drunk” (which is also a nod to the musical influence of Toby Keith). Some of the album’s most impactful songs are from Green’s own writing, such as the solo writes “Well Well Whiskey” (featuring Jake Worthington) and “More Of A Man Than Me,” while he also picks up solid songs from other writers, including “Ol’ Stray Dog.” —JESSICA NICHOLSON

AZ Chike, No Rest for the Wicked

Almost exactly two years after he stole the show on “Peekaboo,” a standout track from Kendrick Lamar’s Grammy-winning GNX album, AZ Chike has finally unveiled his debut solo studio album. With the South Central LA rapper at the helm of a creative team comprised of Lamar, Sounwave, Pharrell, Hit-Boy, JMSN, Terrace Martin and Tyler, the Creator, No Rest for the Wicked arrives as mature, clear-eyed introduction to an MC with boundless ambition and a West Coast-honoring style that’s unafraid of evolution. — KYLE DENIS

Travis Scott, “RHYNO” (from Grand Theft Auto VI: The Album)

What do you get when you throw Travis Scott and Daft Punk’s Guy-Manuel de Homem-Christo in a blender? Apparently, one of the first six singles from the forthcoming soundtrack for the long-awaited Grand Theft Auto VI video game. The new track fuses Scott’s trap foundation with Homem-Christo’s cinematic electronic soundscape, making for what’s sure to be a knockout background song for the beloved game. — K.D.